Robert Dick - The Other Flute

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Oxford University -Pr e s s

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Ely House, 37 Dover Street. London W1 X L1AH Toronto New York 1975

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for beautiful Pilar, whose idea this book is and who gave it its title and for Robert Morris, who most generously gave invaluable help and support throughout all the stages planning and writing this book .

rtJ Oxford University Press 1975 ISBN 0 19 3221 25 X Printed in England

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Contents Iritrocluct lon

1

vi

The Traditional Flute

1

A Mechanics of the Boehm Flute

1

B Different Varieties of Flutes C Traditional Flute Writing

2

10

11

Single Sounds

A Tone Colouration: Natural Harmonics

B lvlicrotones :

C Glissandi:

3

12

Fingerings of Pitches in the Chromatic Scale Changing Dynamics, Pitch, and Timbre by Embouchure Control Quarter-tone Scales for Closed and Open-hole Flutes Microtonal Segments Microtonal Scale for all Flutes Glissandi for Open-hole Flutes Headjoint Glissandi

Multiple Sonorities

15 46 52 58

66 72 79 81

.>

A MUltiple Sonorities Based on Natural Harmonics

83

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

118

4

128

A B C D E F

5

Other Resources Flutter Tonguings Percussive Sounds Whisper Tones and Residual Tones Jet Whistles Singing and Playing Simultaneously Substituting Other Sound Sources for the Headjoint

The Electric Flute

86

128 129 132 133 135 136 137

A Techniques of Amplifying the Flute B Sonorities of the Electric Flute C Electronic Modification of Flute Sonorities

J37 J38 140

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

149

III

153 inside back cover

Acknowledgements

There are a great many people who helped in the course of this work. I wish very muc thank Mr. Gunther Schullerfor his encouragement and advice,James R. Meehan for writi the computer programmes used to classify the multiple sonorities, Mr. William Cahn bOLO , for all his sound advice and for the photographs of embouchure positions and headjo , glissandi, and Tim Shepard for the oscilloscope photographs used in the last chapter. Special thanks are due to Professor A. Wayne Slawson, of the University of Pittsburg Mr. James Michmerhuizen, of the Boston School of Electronic Music, and Profess~ Alejandro Planchart, of Yale University, for their efforts in reading the typescript and th many valuable suggestions. . Aid, material as well as spiritual, came from both the Yale School of Music, with It" 'excellent electronic music studio, and the Yale College Department of Music - and I tha Dean Philip R. Nelson of the School and Professor Claude V. Palisca, Music Departme Chairman. The Friends of Music at Yale also made a twofold gesture of encouragement fj awarding the book their prize, making me happy indeed. Important support came from several groups, to whom I really feel indebted. They ar the many flutists and composers whom I deeply admire, whose encouragement a insightful suggestions greatly helped me; my students, who willingly tried much of tflu material and made vital commentary on it; and the many friends whose continued inter 'lightened my spirit during countless hours of writing and copying. Finally and most important, I wish to thank Professor Robert Morris, Director of the Yale Electronic Music Studio. His suggestions, especially those made during the early work _ the book, have had a major impact on its present scope and form. He is very much t mentor of this work, and its dedication to him is heartfelt.

iv

.....,. •.•. ..

Introduction The purpose of this book is to explore in depth the capabilities of the flute as a soundproducing instrument. It has become clear in recent years that the valid but limited trGditional conception of the flute encompasses only a restricted number of the sonorities the instrument can produce. In preparing the material for this work, I have dropped the following preconceptions usually made about the flute: 1. The flute has only one basic tone quality and its ability to vary that quality is sharply limited. 2. The flute can produce only one note at a time. 3. The mechanical construction of the Boehm flute allows production of only a few microtones. I have set out to remove the non-traditional aspects of the flute - such as unusual tone qualities, rnicrotones. multiple sonorities, 'bending', etc. - from the category of 'special effects' and into the realm of valid musical materials. To do so, the first step included making explicit the habitual and/or intuitive pitch and colour adjustments flutists make as a matter of course,' and developing new fingerings and techniques. The next step was to notate these sonorities from a logical and acoustic point of view. Thus, the notations presented for natural harmonics, microtones, whisper tones, residual tones, jet whistles, and percussive sounds are, hopefully, more practical than the notations presently in use. I hope that the contents of this book are without stylistic or aesthetic bias, and that it will be useful to composers and instrumentalists alike. The traditional conceptual limitations of the flute exclude it from many of the innovations taking place in the musical fields of the avant-garde. jazz, and rock. Furthermore, the adaption of the Boehm flute to the microtonal subtleties of non-Western music has. in general, so far been unsatisfactory. Many flutists want to play in these idioms and therefore I feel it necessary to find wavs.ol developing the instrument's inherent capabilities. Having been involved in much contemporary music that involves improvisation, I find composers extremely interested in new sounds for the flute and eager for a work that codifies and notates these sounds. i was inspired in writing this book by the works of two other researchers. John C Heiss, whose articles contain the first published listings of multiple sounds for the Ilute.? and Bruno Bartolozzi. whose book New Sounds for Woodwind J presents many concepts for developing new sonorities for the woodwind group. These are pioneering works and it is impossible to overstate their importance, for they are the preliminary investigations that have shown the existence of new and vital musical worlds. This book encompasses the examples given by Heiss and Bartolozzi, and, among its explorations, develops the areas touched upon in their work. This v61urne is or qaniz ed pedagogically. Flutists will find the easiest material presented first in all chapters, and each chapter. to a degree, is a preparation for the next.Jn thiS light. it is also significant to note that many flutists may find working with the new sonorities and techniques beneficia I to their traditional playing, especially In the area of tone development. Ouite simply, practice of the new sonoritics serves to develop both the strength and suppleness of the embouchure. Since ilutists may not be familiar with the new materials, composers should always check any new sononties or techniques with a sympathetic player, rather than simply copying from the book. I have tried to present my findings in the most comprehensive and practical form possible The wealth of sonorities for the flute is astonishing in its variety and quantity and it i~; hoped that this VI/ark will help bring about some beautiful music . 1

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

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control all of the holes. The flute is most often made of silver, though occasionally of wood. gold, or platinum." The instrument is in three sections, the headjoint, the body, and the foot, and tone is produced by blowing a focused air stream over the embouchure hole cut in ,the headjoint. Pitch is determined by the length of a vibrating air column within the tube of the flute. Presented below are two diagrams of the flute. The first shows the flute with its mechanism removed, the second includes the mechanism. (The mechanism shown is the basic design of the instrument which, occasionally, is elaborated with one or more extra keys added at the discretion of the player.")

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, Theobald Boehm. The flUrCbndflutc P/bying.trans Day ton C Mdler (1847. reprinted New York. 19(4) . ] The rn a t e rra l chosen for a flute IS largely 8 matter 01 taste vvoode n flutes have a very sweet sound. but do not project as well as rne t al flutes The heavier metals. gold and platinum. do tend to yield a more mellow tone than s rlve r, but It IS thrs authors ope"ence - both as performer and listener - that the gold Dnd p latrriurn flutes are not nearly as vers aule )

as the sdver flute Extra k e vs have b(·f·n added 10 flutes to enable the Idt little linger 10 close the low C:: or low B keys. facdltatlng urta'" low 1"lls Aho. by "'eM'S of D 's plrt G::: k(·y. the lelt Irttle flf'(I('r can close the G:: hole Without clOSing the A hole. yleldlf'\l pr-r hrt rCSp()n~e a nd Intonation of [" An e lter auo n IS somellmes made", the desr\ln of the Bc h-vt-r so that depresSlnn I1 wrll op(:n a spl'cliJlly bored 11OIl' add(:d to correcllhe Intonation and response 01 C::' and C::".

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A key has the name of the note sounding when it is depressed, provided all the holes to the left of the key are covered (with the exception of cross fingerings found in the higher octaves). For example, when the A key is depressed, A: sounds, provided the C key and the B key are also depressed. Holes are covered in two ways: 1. Hole closed by key directly above. 2a. Hole closed by hole-cover operated by depressing a remote key. b. Hole opened by hole cover operated by depressing a remote key. Keys cover the holes in three ways: 1. Finger on key closes hole beneath key. 2. Finger on key closes hole beneath key and additional hole or holes. 3. Finger operates key which opens or closes a remote hole or holes. The keys and their functions in isolation are found in the following chart. Note that most fingerings consist of mare than one key depressed at a time, and that the B hole cover ,md the G hole cover are operated by several keys. The B hole cover is closed by the F key, A key, B:> thumb-key, and B:> lever. The G hole cover is closed by the F key, E key, and D key.

Function of the Keys of the Flute Number

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

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B. Different Varieties of Flutes In common use today are closed and open- hole flutes, and flutes with a low C or 10 . B footjoint.> On closed-hole flutes all the keys are built to cover the holes completely, while on open-hole flutes the centres of the A G, F, E, and D keys are open to improv the venting of air and thus clarify the tone. When these keys are depressed, the finger must cover the open portion of each key in order to cover the hole completely. In thi. book, however, the technique of depressing only the rim of an open- hole key - leavin the centre hole open - is introduced for some alternative fingerings, microtones, anu glissandi. Various Ilutists. from beginners to professionals, have tested the materials in this work, and have found the contents accurate and applicable to flutes of all manufacturers. Th highest quality flutes did, of course, respond better to the new sonorities than the lesse instruments. Moreover, the slight variations in placement of the tone holes and in certain characteristics of the headjoint found between flutes of different manufacturers means that not all pitches and multiple sonorities will sound exactly as notated. or with th same ease. It is stressed, though, that players of all Boehm flutes will find this boo useful.

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Changing Dynamics, Pitch, and Timbre by Embouchure Control By means of varying embouchure position and breath pressure, it is possible t modify greatly dynamics, pitch, and timbre. The following chart (which includes pictur of the author's embouchure) shows the changes in embouchure and breath pressu needed to 1. Play in tune the full dynamic range of each pitch 2. 'Bend' each pitch as far as possible both up and down' 3. Change tone colour. The flute's range from B3 to A~lS is divided into fairly short intervals, groups of third and fourths. Within each interval, all the pitches have very similar characteristics; thu the changes shown will affect each pitch almost identically. These intervals also mar the divis ions found in the glissando from low B 3to high A~lS. The parameters shown are angle of the flute, lip opening, lip position, and breat pressure. They affect the dynamics, pitch, and timbre as follows: 1. Angle of the flute This primarily affects pitch; as the flute is turned in towards -the player, th pitch is lowered. Conversely, the pitch rises as the flute is turned out, awa from the player. However, the angle of the flute does affect tone quality. I the flute is turned out beyond the normal playing angle, the tone become first more brilliant, then breathy. Whisper tones are produced either alone or along with a desired pitch from low B3 to A-;5 by blowing gently and turnin the flute well out beyond the normal playing angle. Turning the flute in tend to increase the strength of the higher partials in the tone and weaken the fundamental. Thus, either an edgy or a covered quality can be produced. 2. Lip opening The lip opening focuses the air stream, and primarily effects the control of overblowing into the upper octaves. Lip opening is also important in the control of dynamics and timbre; the focus of the air stream at all dynamic levels is crucial to the tone quality. A wide opening tends to make the tone louder and breathy, a small opening tends to reduce volume and to clarify the sound (i.e.. reduce noise and residual tones). 3. Lip position - motion of the corners of the mouth Basically, the effect of the lip position is similar to the coarse focus on a microscope or camera. A correct lip position for a given dynamic and/or timbre places the embouchure at a point where it is relatively easy to control the sound. Individual players' styles naturally differ in the degree and precise direction of lip motion. but two basic types of motion can be described. First, the lower the pitch and/or the louder the dynamic, the further the corners of the mouth move back. For example, when playing a crescendo on low CIl from ppp to ff, the lip position changes as the corners of the mouth are drawn from far forwards (almost pout-like) back to an almost smiling position. In the second type of lip motion, the corners of the mouth are drawn downwards rather than back. Both lip motions have similar effect, and many players mediate between them. 4. Breath pressure The intensity of breath pressure, which is controlled from the diaphragm, determines the dynamic level of a note. Ideally, the breath pressure used to play at a given dynamic level is constant throughout the entire range of the flute. Thus, the same breath pressure is used to play both B 3 and B 6 ppp. The intensity of breath pressure is directly proportional to the dynamic level.

,

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

46

....

The softest notes are played with the least breath pressure, the loudest notes with the most intense pressure, Breath pressure also influences pitch. Increased breath pressure tends to sharpen pitch, decreased breath pressure tends to lower pitch unless compensated by adjustments of one or more of the other parameters. The four parameters are, of course, closely interdependent, and control over all of them is necessary-to make adjustments freely and sensitively in dynamics, pitch, and timbre.

Angle of the flute:

U

normal playing angle

r

U '"

o '" C

slightly turned out

s.Iightly turned in

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

::> '" flute turned in as far

8\

possible without note stopping

Lip opening:

C::>" wide opening, as

c::>

in playing

"moderate opening, as in playing

o ";.mall opening, as in playing ~

r

•

",'cry small opening, as in playing

!!lilt ~ ill

...

47

"H?

ffi'f'iitit""

8 reath pressure: 1-8 1 - as in playing ppp 2 - as in playing pp 3 - as in playing p 4 - as in playing mp 5 - as in playing m! 6 - as in playing f 7 - as in playing ff 8 - as in playing fff While lip position varies slightly with each pitch, and from flutist to flutist. four basic lip positions - far forward, partly drawn back, drawn back, and drawn far back - can be shown. For players who use a downwards lip motion, the basic positions would be lips straight (or slightly upturned). lips brought partly downwards, lips brought downwards, and lips drawn far downwards. 1. Lips far forward

2. Lips partly drawn back

,.Cl"'J'

4.

3. Lips drawn back

.

--

Lips drawn far back

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

I

.

~

.

>

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...... _ _

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Within the chart, lip positions are referred to by their number as given above. It is stressed that the lip positions shown provide only an approximate guide, and that each flutist must modify them as he finds necessary. In reading the following chart, note that the four parameters - angle of the flute, lip opening, lip position, and breath pressure - are interdependent. The lhre_e columns represent the continua of dynamics, bending, and timbre. In order to play the full ranges of these continua, one produces the changes in each of the four parameters within each column, For example, in order to play D4 from ppp to ttt, the following changes are made together: the angle of the flute is turned from slightly outwards to slightly in from the normal playing angle; the lip opening is widened from a narrow to a moderate opening; the lips are drawn from a far forwards to an almost smiling, far back position, (or from a straight to a far downwards position) ; and the breath pressure is increased from minimum to maximum.

Normal playing range ppp ff

Bcnding upwards downwards '!.-tone '!.·Yrtone

Colour

I

u-[ú--cJ

.-~-o

Anglc Lip opening Lip position

-

4

Breath pressure

-

7

Normal playing range ppp ff

7

4 -[2-3J-[1_2J [2_BJ--[1- 3J-[1

4

_

Bending upwards downwards '!.-tone '!.·'!,-tone

I

•

Lip posilion

--.411_4

Bre¡,th pressure

--'717-

:~~~#~ .------:---JUo• ~[é/-cJ o ---...... (/-0 e

•• •• •• •• •• •• •• •• •• •• •• ••

•

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[2 -~

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-

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4 ~[2--~

~

dilluse

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with

3J

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u ..---[(/

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-

Colour

Angle

lit

dillusc with whispcr tones

dilluse

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-e] o

--

~ -- ~

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

[1-- 3J

__

Normal playing range ppp ff Angle Lip opening

o -c:::>

Lip position

_

3

Breath pressure

--

7

Normal playing range ff ppp Angle Lip opening

o ---c:::>

L ip p05ition

----

3

Breath pr~ure

_

7

---

o -

,

••

0

Angle Lip opening Lip position Breath pre- •

•

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diffuse with whi!>per tones

diffuse

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4

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----

2

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::::>

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o

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c::>- • 7

c::::> -

[1--8J- [1--8J-

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--

-

4 _[2--3J-

_4 7_

e --

diffuse with whisper tones

diffuse

edgy

e -::::>

OO ---1

B-

_

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...

•

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pp

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ppp

••

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55

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56

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d. ~.

Microtonal

Segments

These short scales were built by leaving one hole open and fingering downwards as ir regular chromatic scale were being played. Intervals as small as the thirty-second-tol1 are often produced. There are two sets of microtonal segments. The first is for all flutes, the second fi open-hole flutes. The smallest intervals are found in set 1. Composers may find the microtonal segrnents the most interesting ot al! microtorio possibilities. They can be used as presented or taken as a source set tor the constructi ot unique pitch sequenees. The double stops based on these sc;~I_e~often produ parallel microtonal sea les. These multiple soundsare presented in a special section Chapter 3.

Finl/Crings: At. hllnd

=

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

ElUImples:

Fingerings

/ ••••

\

,§/

O •••

(the left hand fingering

.··,~I.··,itl rt.h,nd

I

applies to pitches

under the sign)

•••,.

~ ~~~

~

~

n-"

/

dynamic

~

range

58

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rt. hand

~

....O···t§/···,~I···,~I···,~'

1

n'"

__

~u

I

el

'1' ,~-( c;:

.

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

•••• 0. eOI§/ •

00O§¡•• OO~I•• OO.I•• oo~1

n-t{

rt. hand

•••• 0.OOI§/ ~

~

~

~

nff

~ ___

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rt. ha rxl

•••• 000.t§/ ~ n·ff

•••••. rt. hand

59

n-mp

rt. hand

•• e 000 001§1

• 001§¡·

eOIBé···'§Ie ··O§¡· •• ~e •• Oiil.

n·ff

rt.

hand

n·ff

••• ,§¡••• O§I••• ~/. ··0~1· •• 0.'

°0°°00 ° 01§!O.O 000

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B

•••.. n.f

nff

rt. hand

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e eo.§!e

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PP

ee.§'

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nff

60

rl. hand

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t§ ~t

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qr ~

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71

C. Glissandi Since the lifting of keys produces discontinuous steps, flutists have long been inhibited from playíng glissandi, which can be performed in two ways. The first technique, possible only on open- hole flutes, consists primarily of carefully slíding the fingers off the holes of the open-hole keys, and then fitting the rims of the keys. This method produces a more or less continuous glissando from low B3 to high A --

"'"

sounding pitches ------

~

fingering 1,8 ease 01 response and starting time stability

3 b

'L

dynamic

pp

range

timbre modulation'

Bright M2

MU1ed N1

nOlse

b

residual tone

c1ass

Multiple Sonorities

Based on Natural

Harmonics

4,C

1,a

n·ff

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8

IV

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the modulation

betwecn

pitches

01 a multiple

sonority

84

causes

°bcating'o

the indication

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d

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IV

Sonorities Based on Fingerings in the Chromatic Scale

both are:

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Dif. M4 e

IV

of Pi1ches

The many alternative fingerings of pitches in the chromatic scale are not only valuable for the timbres they yield, but are also the source of the most varied and extensive group of multiple sonorities. Within the major tenth, double-stops are produced that form almost every conceivable interval, both diatonic and microtonal. Many intervals are found at several pitch levels, ando at each pitch level, sound with several different timbres. Stable triple-stops are also found, and each of these sonorities usually contains both diatonic and microtonal intervals. The multiple sonorities in this section number over five hundred in all, and are presented in several differently constructed charts designed to make them useful from the viewpoints of fingering, interval, timbre, and ea se of performance. The r.harts are: 1.

2. 3. 4.

Multíple sonorities produced by the fingerings of pitches in the chromatic scale. The order and numbering of the fingerings coincides with that found in Chapter 2, Section A. 'Fingerings of Pitches in the Chromatic Scale'. Double-stops arranged by low pitch. Double-stops arranged by high pitch. Triple-stops arranged by low pitch.

86

The first chart presents complete information for every multiple sonority - exact pitch, ease of response, starting time, stability, dynamic range, timbre, c1ass and, if present, noise level and degree of modulation. The fingerings for the multiple sonorities are not drawn in the chart,for they are identical with those found in Chapter 2, Section A. 'Fingerings of Pitches in the Chrornatic; Scale', The fingering of a given multiple sonority is indicated by its number, which also distinguishes it from other multiple sonorities produced by the same fingering. For example, the double-stop F~4 and B~4 is numbered F~4 VII-1, indicaiing that tingering VII tor H4 (found in Chapter 2, Section A) produces this áou5Ie-stop, and that it is the lowest multiple sonority produced by the fingering. Occasionally, by very caretuJ use ot the emboLJchure, a multiple sonority that forms a large interval can be sp/it into two smaller interva/s. The smaller intervals, which do not normally sound when a fingering is overblown, are injicated by the letter 'a' or 'b' after the number of the larger. normally produced interval. The double-stop B~" and C~6, tor instance, can be split into two smaller double-stops, B~" and F~?, and F~5 and C1=6,Thus the large interval is numbered B~4 111-1 and the two smaller intervals are numbered B~" 1/1-1a and B:;4 111-1b respectively. Charts 2 and 3 in this section were constructed by compiling the data in the tir5t chart with a computer. which then abstracted the multiple sonorities organized according to interval. Chart 2 arranges the double-stops by low pitch, chart 3 by high pitch, and the tourth chart presents the triple-stops arranged by low pitch. When using these charts, which each present only one type ot information, the reader can refer back to the tirst chart tor complete descriptions of the multiple sonorities. The numbering system is uniform throughout this chapter.

Example:

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

2

3

4

-;f.

multiple sonorities produced

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2,a

2,a

4 e

pp Muted

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n-mf

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1

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range

timbre and, when pre~ent, noise level and degree 01 modulation clas~

87

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3

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