Documentos de Académico
Documentos de Profesional
Documentos de Cultura
by
Ja mes J. Pellerite
(formefl y, solo flutist, Phila. Orch.)
Indiana University
School of Music
crWo
Zalo Publications·· · RO. Box 913·· ·Bloomington. Indiana 47401
ULlS
",<, "34-0 Copyright @ 1972 by James J. Pellerite
107i.J
INDIANA UNIVERSITY
Library of Congress Catalog Card No. 72-76260
LIBRARIES
BLOOMINGTON
CONTENTS
INTRODUCTION
1. BASIC FINGERINGS • 6
2. (a) HARMONICS • 10
4. TREMOWS
(a) Major and Minor Thirds 18
5. ALTERED FINGERINGS 39
(a) C Flute 44
(E) Fluttering-Multiphonics • 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
~ __ .•f---i--...~.---...__•. I I
•
~-
~ • I ••• 1 1.1.1.1 •••
A~~ ----....... •__-t-.....-tI.~---i I I I 1 I 1.1 .'
~ _ .~.--+----+---l •
~--. •
I 12.
I ••• I
••
•
I
I • • I ,•
I
•
12.
12.
~-. I ••• I
~ •• I. I I I I I •
. ~~. ~ • ..--1-I---i---i~t---J I I I I I I. I I I
~-. I ••• I
fti----- I
• I I
• • II •• I 3.
I • I
W.--.... • I ••• I
I
••• • I • I •
~_. I • • • I
••• • I • I ••
m~ . .--4I.t-4.~1
- -+--.•
r-t-----Ir--t.t-t/-+---..I--/-I--+-~I I.
•• I
• I ••• I / I I • I I I
[6 ]
---~.-) Basic fingerings(These should be learned first.)
~----.
~
. ..
••f--_t__..... ......--4.__....J --I
............f--I-_+--+I
I--I----l---+I---+-e
• ......,.---I-1-41.~_+---j1
1--I----l---4ll
4.
5.
I •• •• I I
---I.......
•
•
~ ~ I I
..f--_t__.....,.........;._....J --I
• • •
• ~.~I---t...______+--+---I--+_+--tl 6 •
~--. • • • • • I I
• ••
~
I • I I I BASIC FINGERINGS
~ --__.:I------.•
••--+-_+_+_+-+---i•. .-t-t--tl 2. valuable.
.----1.i---li---li---I 1---f---If-----1f-----1--+ .t--I--+-1 2. 2. Each fingering must be learned with equal facility and
_t__+---il 2. applied interchangeably. The control of various technical
• • ~. __t--t--+__~.
_
passages, and added dexterity will be dependent upon
this flexibility. When possible, emphasize the use of
the BIever, R.H.
• • I I
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
I • I 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.
I • I I I
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.
• • • I I • I 6. A controll~d level of pitch can be achieved in a ff
when the EP key remains closed. However, the tone
quality becomes muffled at this lower level of pitch
and will necessitate embouchure adjustments.
[7J
BASIC FINGERINGS (CONTJ
I
!~
8va...., 8v
.. • • •
f! ~
I I I X I 1
• I • I I. I I I I • I I I • I• • I X X. 110.
8va---,
• • I
• I I X • 110.
-
~---.•
I ••• I • I I I ·11.
I ••• •I• 1I I .12.
I#f~--: • • I ••
I I 7. WI
• • I •I I• 15. • II • • • • II • I II II • • • 113. 0
8va--,
• •••• I •
1 I .14. 8. T,
k,
... • • ••
f!
~------I""". I I • • I I I I I I I • I I I I I I I I I 115. 9. TI
iJ
1 I • I • • I I • I •• 115. til
I I • I •I I I I I I 15. 10. T:
8va, 11. W
• •• ... • I • I • ••
#~'~--I
f
I I. I I I I
• I
13. T
·· .
r
.. • •• •I
•• • • ~_II
I I I I I I I I I I I I X I I I f
~
1
• • I I
)(
•• 114. 14. T
n
I
•
I
•I )( • • 114. v
• I •••• • X
I •• I 15 • T
0
~-~ •
8va,
• I • X I I I I 8.
.. • I • o---j I .X 116. 16. 'W
~
• I I X I • 1 19.
• I •• I X • X •• 117.
s
17. T
I h
i
A SECURE PLAYING POSITION
8va-----,
.. 1-+--+--··--+- 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.
1. Develop a secure hand position, with the arms
[5J
Due to the acoustical construction of the flute these har
2(a) HARMONICS 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
The production of overtones is a basic technique with which ing is closed. For example, the regular fingering for D2 i?
all flutists must become familiar. Not only does -it represent properly vented by raising the 1st key, L.H.; ~he ton~ qoa11ty
the foundation for proper tone production, but also it offers is muffled and its pitch level lowered when th1s key 1S closed.
additional opportunities to simplify many complex technical pas In fact so many students accidentally produce this tone quality
sages which occur in the 3rd octave of the flute. The fingering by using the incorrect fingerings and are not aware of the result
combinations for such phrases become moderately easy by using ing faulty tone structure. One must discriminate and exercise
the fingerings for the fundamental notes to produce the harmon discretion as to the use of these nshort cut" fingerings. Often
ics. Created by overblowing the fundamentals these are generally the tonal beauty of a melodic passage is impaired by the obtuse
indicated as follows:
, 0
.12
8
.;..
0
0
.a.
&.. 0
0
.g.
~
g
(0 6th " 21st (two octaves and a seventh)
Frequently students find it difficult to reach the full gam
.....
'-\
".
(0)
.....
(b) (c)
....
(d)
.... .,. ....
(e) (f)
.,. .. L'
... ... ... ... ... '2
.. ..
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 ~~ '<Ii. D. #~
A ,~ ~
respond alike(even made by the same manufacturer). This vari #0 ~ .;.. I!A
(2)
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.
;.t 1J..
0
. . .. ..
~
<Ii.
~ a t
-&
9
.A
.-
k
--
b. b.
:= o
(2)
1••
r #~
1 :...
~ #.Q. ~
.v •• I ,.
(3) (4)
(5)(6)
[10]
Q
The technique of 'venting' the various tone holes is one that
•
..Q.
.& ~
~
~.Q ..Q
.e- .a ought to be introduced to the lesser experienced flutist as soon as
~ 6 practicable. The astute professional always has recognized the value
~ .. t . .. .. ~Q
'v k. ~v iv ~ if P V R
I of this application. To develop the technique of sliding over the
tone holes, one must emphasize a subtle movement of the fingers with
(2) 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 •
~ '8 '8
~..o.
..0.
J.
,.
~
~ •
. ~
..Q
lit lit
6
.. a
"
-&
0
~
V
Q .Q
R #V
#.e.
'0 .9
~ 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
Note: The following alterations may be applied when by a fraction, the finger is to be moved in a calculative fashion.
practicing from this chart. These will assist The pitch is raised according to the amount of the hole exposed. The
in performing the upper harmonics with greater opposite is true when the desired pitch level is to be lowered. By
ease, and their physical placement in the oc depressing the key ring by its edge it is possible to vent the en
tave would be identified more readily. Follow tire tone hole. The numbered comments accompanying each chart will
ing a degree of proficiency in the execution suggest the appropriate venting combinations for each fingering.
of the harmonic series, these intervals should
be practiced legato[slurred]. 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
1. Vent the 2nd key, R.H. ing the fingerings for their fundamental tones. This produces an
2. Use the Gn ~ey. array of pitches in a composite of overtones and results in total
3. Close the EP key. flexibility for the ensuing techniques that are to be applied. By
4. Use the low B key, if available. gliding these pitches the notes are altered to possess a wider
5. Close the C key. range of intonation as well as a broad spectrum of tone content.
6. Close the Cn key. 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.
2(b) FRENCH MODEL FLUTE 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.
I
tr tr
••• I I
• I • I • I •• I
tr
I
• •• I I •I•I •I• I I
••• I I • • I
tr
I 0 I • I
I 1,(+)
~-.~
I • I • I • • I
tr
I I
@_ a - - f - - - - = - ._ _ _ _ _ _ _ _
tr ~_~. .......-..---J
••• I I •I•I• I
I I
• I • I • • I
tr ~-.~
••• I I I
trtr
_ ..........'---.,..---/---.•...-..•..-.. I •
I I
tr tr
•••
•••
I
I
I • • I • •
•I•
I
tr
•
I I I
•
• •
I •
I
•
tr tr
~r.
• •
. ••-+--+--+-+-+-1-iI.J-+I-+---t1
I .-! I 4.
~
I I I
I I
tr
~ -.. ••--+-1---'eillE""-l.a--j---j
j I • I •
tr •tr I
•• • I I •I• I I • I I I 2.
•
• •
I • tr I
•
• I
I I
,.
I •
• • • • I • I • I ••
••-+-1--t---t--+--+-".f-+--t---11 6.
1--+---+---1.a--t .---1•.--.+---+---I1 7. (+) 2. When possible, begin the trill by using regular F# fingering
3. This may be used for added facility when the trill is followed
by the note E. However, the F~ is slightly flat in pitch.
~
~.~r--+---+--+---+----II • I 4. This fingering produces a flat BP(A#).
a
It is acceptable in
tr
••>---~+--+-------o---J • • •• I 7. (+) 5. Appropriately used for a PP , this fingering produces a higher
level of pitch for C and C •
2 3
6. Use this fingering for a f.f , since a lower pitch level for C
tr 2
I X I I • 1 18.
and C will result.
3
7. The intonation for C#(DP) is lowered by venting approximately
1---4.~XE-'-'tr'--l!--+-----tI
...........t-+-+---l1 9.
10. When possible, lower the 1st key, L4H.~ slightly until the into
nation and tone quality for D and Di(EP) is improved.
x- Use Trill Key [l3]
3 TRILLS<Half Step and Whole Step) CONT.
~-., • • Jr I t-"rl I I I • I I I I
...
tr
• •• •• • I ·1 •tr •
• ••
I I
tr '\
• I ·1 I 110
~ I
•••• H-+++-e-+-+-t--
Jr.
~--. ••• .,
• I Jr J
~r I
I III.
tr tr
• ••• •• I I 11,12 ~_. •I •tr •tr • I I I I I • I 1 I I
• •••• .-+-1 I I • I I I I
M--- 1
••• • I Jr l I .1
• • I Jr. • H--+--++-+++-1 4 .
•
• • I ~r II I f--I I I I • I ~-H
Jr I • •tr
~--. ••• •• • I
I I I I I I I I
tr . tr H
~--_I ••• ~ ~--. • • H-+-++e-++-H
~--.
~--.
•••
••••
tr
~
~
~-- .
•
•
•
Jr-,
I ~r I
I I
I
•I III
• H---H
~_. •Itr Itr II 1-+--1 f==1 • /5.
~--e-j • • • •
tr
• •tr I I • ~ 1--1 • /6.
[14J
• I• • I II- I • 16.
S·
+
tr
• •
• J!:--iI I I • I
•tr I I • I I I
•• 1--0 • • 116.(+)
tr
I I • I
•••• • I • I •• I I I
1------l----il)(e:--tr+1--+-~-tI.t-t--+-I1 13.
tr tr
•••• ' . ' . 1 • • 111
I • I I I
• • I. I
I------l--+-+I-'Xlrt-'--jrIr--tI
• .-+1-+1-II 14. • ....-+-C>I>--+--i...........-+-+----I117. (+)
1----t
I I 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
U--I II
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
)(tr I Xtrl
tr
• I correct interval.
1-1--+--t---.--C>----i X I Xtrj • \15.(+) 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
a~--I • key, R.H. When playing PP the 3rd key, L.H., is to be vented
••• I I I Xtrl I I 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.
O-Depress the key by its edge. [15]
3 TRilLS <Half Step and Whole Step) CONT.
8va---.
r-- tr
~~. I • • • I I I I I I I • I 126.
• I • I I • I 118. ~~ tr
f--(> I • I • • I I 27(+)
I I ••• I I II. e. I 1
,
>--+---+I~o I • • I 119.(+) tr
X I Jr I I • I I 28.
8va---, • I I • • I I
I ~r I
I • X• I I
I • • I
I I
120.
~ I···
~ ~I
I • () • •
tr
, Xtr , I I • I
1--+1--+-1".-+-1..........
I
- .~I""-+--II 29.(+)
tr
~ I I I . I . 1121.
8va-,
~
~I •••
tr tr
I Jr, I •• I I
I f - I- • .-+-~•....-.
•.-.. • I ••
I • I I I • I I
122. 8va---.
I Jr 1 I Jr I • I
I 23.(+)
~ ---H ••
I I
I
~r I
1---e.~1+1~XF-tr+1 -.•.-...r---i--tl 30.
• I I I I • I
I • • I I
I • tr 1---e.~1+/-1lh .a---fI-+--+--J1 31.
8va---. • I • • •
• I I • I I
124.
r4--~.
~ • I.
•••
Jr l •
I~J~r f-I+-1lh••tr=-+I-+-1-+1--;1 32.(+)
11----+-1~II---+-I -tI.~1 -+1=-11 33.
I I •• I I I
tr
f--+----t--<o I • I • I I 25.(+)
~tr
1~.-'l)(If-+~11---+-1-+1-1•..-+1--;1 34.(+)
~~.
8va---,
I •• I I I Xtrl I I • I I I
~~:::
• I •
::
I •
.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.
• I • I • ~rX I I I I I I I
[16]
. . -'__========-====::::::::::======~~========~.=:..;:====~ ~-_. 1
---.:I--r--,•..,tr'-e~~r
26. Fundamental tones G] and A] are overblown in the production
of this trill. HenCe, a greater amount of tone support is
-iIII.t--t • x• • • 138. necessary.
27. Vent approximately one-third of the tone holes of the 2nd key
8va--, L.H., and the 1st key,R.H. The intonation for G may be im
.D-. tr. x •
proved by venting the 3rd key, L.H., slightly, during the trill.
28. The A is faulty. Throughout the trill apply firm tone sup
~
~# tr I
_ _ .......-..+--
tr •
'---t---e--i
. -..
I I )( I 1.40 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.
8va--, 34. This fingering is applicable for a softer dynamic level.
~--.I
tr tr Vent the 2nd key, L.H. approximately one-third of the tone hole •
• •• • -I
1---4a-+--e-4--+--+-+-+--e.
)( 4 O. 35. The problem of coordinating this fingering may effect the tonal
.J>-r-III---1----<~
production. Avoid moving the flute while blowing. Vent approx
••• ..
•
1----41.-+-+---+---+--+--+-+--41.40.
I 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.
8va---, 36. The 1st key, R.H. may be vented slightly while trilling, to
tr tr
~_.
raise the pitch level of the BP in a PP •
•••• •
1---4~-+--+--+-1 -<'+-\-+-+-1--.
I 40. 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
18. Although a basic fingering, this does produce a faulty F#. flutes without a low B foot joint.
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.
[17]
4(a) TREMOLOS (Major and Minor Thirds)
• I • • • ~ Jr I I • , I 12.
I • I • I ~I • • I 1.(+) • • • ~r I • I • I I • I I· I 2,3.
• I
• I • •• I • I • I Jr I •• 1 2 . tr
• • • • I . I I I I • I I 12,3.
• I
• tr I • I 12 .
I • I • I • I • • ~r I I . I I I r • 1--+-1 2.
tr tr
I • I • I • I • I I 2.
• I • • •tr I I I I I • • I I 12.
~rl
• I .tr I I H2. •• •tr ••I ~1---I---+-----lI--.""".'-""+---+---112,4 .
.t-+---+--'i'1 2.
•• tr tr I
~I-J--+----JI~.
• I • •• • I • •• ...---11-+-11--+-1-4......-+---+----11 2.
I
• • I Jr ~r I ~I-J--+----J--t--..J-t-I---+--il 2
• I ••• I ~r I Jr I • • I I I 2. tr tr- -1I
•__-+---..• ..--..~. • I • I 12
• • tr tr I
-..l-t----+--il 2,4.
f--i--j-+-t--t--j
[18J
• • •• 1--+-4--+--1-+1.....l-t---t--il 2 .
~ •
tr
• •tr •tr • • 12,4.
~
--+---.+-H I xtrl xtrl
• I I I
• •••• • 12.
~ • tr tr
•tr.• • •
•tr • • •
•
•
12 .
15. ~
e---+-+-+--+--1
.-i
•••
tr tr
~I Xtrl xtrl
I f-e-I
• I ••
• 16.
19.
• •• •• • 16.
~ • 4trr•tr I
• • • I
•
•
12,4.
12,7
TREMOLOS (Major and Minor Thirds)
~
tr tr tr
• •• I I l
tr • 12,7 against the flute, and underneath thi G# lever. Then apply
the technique as described for the C -D# trill. [See TRILLS]
• •• I X 1 • 16 2. This fingering also applies to the octave above.
~
tr 3. Firm the hand position to avoid unnecessary movement of the
•
tr
tr I
• I • I • 12. flute against the embouchure. The interval will sound more
correct if it is produced with a less intense air column.
• •I tr I
tr tr
I • II I • 12.
4. This fingering affords a secure hand position. The interval
•• I I I I 1
tr
• 12. is faulty but may be acceptable at a ff level.
•• I ()----j I X , • 18.(+) 5. The C· is flat and will demand the use of greater
support.
breath
Jr I
~ • • 6. This is appropriately used for a P.P level.
• Xtrl
• I
• • I I Xtrl
• 16. 7. To achieve a balanced
tremolo, depress the G
~and position while executing the
lever.
8. Apply this fingering at aP.P level only. When using a
~ • Xtrl
• I I I • I French model flute vent approximately one-fourth of the tone
hole of the 3rd key, L.H.
~r I 1 Xtrl
• • • 16. 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 tr
•••• x I I I
tr Xtrl
• ,I 19.
• x I • I 114.
~
tr tr
• I ••• I • ·1 I ·1 I 19.
, , tr tr
.,. ., • I I I X I X , .1 I I
~
tr ,
• •tr • • I I I 19·
tr I Jr 1 •
Jr • 1
••• I 1 I I I 115.(+)
~
tr tr I
••• I ·1 I I I • 1 1 19.
•~r II • • Jr I
tr •
• I I
I
tr
X I
••
•
116.
19.
~fJf fr
• • tr •tr II
I
•• I ••
tr 1 I
I
• I•
••
J9.
117.
~
Jr I Jr I
• I
••• I I • • I I 110.
"~
• I
tr tr ,
• •tr •tr, • I I • I 18.
~
• Jr I Jr I •tr • • • •• I I. 118.
I
••• I I I I I II.
'\
tr tr , I
• ••• I I I . I I 119.
~
I I
I Xtr
I
• I
• • I
~r I
Xtrj
Jr 1 I •
·1 112.
• I
••• I I 113.
[20J
10. Overblow the fundamentals(D#-F#) at the 12th.
11. Overblow the fundamentals(E~-G) at the 12th.
tr 12. The D is better in tune as the tremolo is played pp •
• • • •• tr tr
~a___+_ _ .f--+-.....,........---.+--+---ll 20.
13. The fundamentals (E-G) are overblown at the 12th.
• •••• 1--1-+---+---+--+1--..-+---+-11 21.
14. Apply this fingering at a ff level.
~(lt
•tr •tr I f------1-+--+--+--+-.e_f-t-i1 25 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.
~~t-r*Xt-1!--+--t-+1
r
~.I-+I-I 26.(+) 27. Same as #26, but apply the harmonics, B at the 12th, and
F at the 17th.
~tr
f----4III~.-rX*-'r-11--+--11--+-1~.I-+---li 27.(+)
t
• 1 ••• 1 1----1,--t--+-+--i.t-r-+I-e.-t--ll 28.
4(a) TREMOLOS (Major and MinorThirds> CONT.
8va----,
8va------,
~r • o--e I • I I I I I M 35.(+)
~
tr
• • • r-ci r xtr I 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-.
30. Overblow the fundamentals (G-BP) at the 15th.
~
tr tr tr
• • • I I X I I • I 131. 31. Overblow C2 at the 12th to produce G•
32. The fundamentals (G#-B) are overblown at the 15th.
33. When using a flute with a B foot joint, depress the low B
8va----, key only.
~
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--.
I
tr tr
• •• • I I I I I I • • 134.
I
[22J
4(b) TREMOLOSCPerfectFourths and Tritones}
[23)
4(b) TREMOLOS (Perfect Fourths and Tritones)
Cant.
• ~r • I I Jr I I I I • I I 11,4. I
tr tr tr
• I • I • 1 I I II.
• •• I
•• •tr tr I
I 1 I I I •• I 1 11)5.
tr tr
• • •• I • I • I • I I I 11)2.
•tr ••
tr
I I I I I • • I I II.
• • ••
tr tr
• I • I • • I I 11)2. •tr •tr • I I I I I I • J!/ 1L
Xtrl
tr •tr •tr • I I • I 16.
• • • I I. I • I • • I I 11 1 3.
••• I I I I I • I 11)7
t
••• I
tr
1.1. I 1.\ I II. .-. tr
•
•tr •tr • •
••••
I
I I I I
Xtrl I
I
•
•
I
I
16.
I 1)7.
~-.
tr tr
• •• I I. I • I I • I I II. •••• I I I I Xtrl • I I 18.
[24J
•
tr tr
•• I I . I I I I • I I II. ~-.
~ . ••
•• ~r I
I I
I • •I•
I xtr , •
I
I
I I
19.
~
• • • I tr •
~
19.
• • •• • • I
~fJf
Apply lower octave fingerings. 13.
y
~
Xtrl Xtrl
• • I I I
tr tr
• 19.
~
• •• • I • •I•• I
~ • •tr ~r
tr tr tr
• I • • Xl• 110.
• • Jr I
2. It is acceptable to trill only the G# key for a PP level;
~
tr tr tr 3. Use an intense air column to produce a more correct tone
•
e----1•tr • ·1
tr
•Jr I I
Xtrl
• I II. quality for A•
~
tr 5. For added facility trill only the 2nd key; however the B
Jr l Xtrl
• ••• I • I 112. will remain faulty •
~
preferred.
~
9. As the upper note is faulty, direct the air column inward
~
• I I 121.(+)
1
tr tr
• I •• Jr I I I X 0 I I • I I 1(+) 8va-----,
tr tr
~
• I ~r I • I I I I C) x I • • I 23.(+)
8va----,
tr
x l xtrJ~r••-+--+--I116.(+)
.r
~
tr t tr tr
tr tr • I I • I I I I C»( I • • I 23.(+)
)( I X I . I 117.
8va-----,
tr tr
~
tr tr tr I I I I I I. I I I
• • •tr •tr • I I xo. I 117.(+) • I I ••
tr tr
• • • • I X , X , • I I 8va---.
tr tr tr tr
~
• I tr •
• • I x. I •• 124.
tr tr tr
~
tr
f-OX I X I
tr tr
• I I 118.(+) ~I x. I •• 1(+)
8va---,
~
tr
I I tr •
• •• I I xtr• •• 125.
tr tr tr
~ ~.>-+-I.....f-:X~I-e.-ilr--+-il 19. (+) 8va----,
~
tr tr tr tr tr
• I •• I I 1--+1-i)(lrtr-tI-iXlrtr--+I-e.-ilr--+-ll 20. • I • • • • I I I I I . I I 126.
[26]
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
8va---, the thumb key and the right hand keys simultaneously.
~
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 in the
response of the interval.
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)
•
tr tr tr
• • •• I
tr •• I
i# • I •• • I I Jr I Jr I ·1 • ••
• I
••• 1 x •• 15
~rxtrl xtr ,
• I • •• • I 16.(+}
.tr I • •
~•
xtr , I I • 17.
tr tr tr •
I • •• I •I•I• 1 •• I
xtr ,
• I
• ••• I I Xtrl • 1
~• I
••••
tr
I Jr I • I • I • I II.
tr tr tr I
• I
••• I I • I • X • I I 18.
~
• I
•• •
tr
I I .1 ., • I I I I
• I
tr tr I
• •
• • I I Xtrl • I I 19.
-
I
•
• I
tr tr
• •• I I .1 e' e • I 1 I
•
• I
tr tr I
• •
• I I I I I •• I I I
• •
e
I
I
tr tr
• •tr •
•• •
I
I
Jr I el
Jr I ., .,
·1
12.
~
e I
•
• • I
tr
I ~r I • I •
tr
I •• 1
~
tr tr tr
•
tr tr
•I • •••• I I I I I I • I I I
•
J
I • • • I e I 13.
tr tr tr I
• I ••• • I .1 1 4.
TREMOLOS (Perfect Fifths)
tr tr
• • •• 2. The B is slightly flat.
••
tr tr
•• I 1-'.' ··1
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 tr ~rl
tr ----..-4---4----'
• • •tr • 1-41.'-+1 •......-11--+--11 II.
7. Use a strong air column to assist in the correction of a
•tr I •
• ••• --+-iII.~-+~1 12 . faulty D. Alternate the use of the 1st key, L.H., with the
trill key.
tr 10. Alternate the trilling of the 1st key, L.H., with the simul
tr tr
• ••• I - - I
taneous action of the 3rd key, L.H., and the 1st key, R.H.
12. The B will respond clearly only if the action of the fingers
tr ytrl tr is equalized.
• • •• I 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.
14. Vent the tone hole of the 3rd key, L.H., slightly.and about
• • • o--e
114.(+) one-h~lf of the tone hole, 1st key, R.H., to adequately tune
the G~. Avoid excessive closing of the embouchure.
17. Vent also one-third of the tone hole, 3rd key, L.H., while
trilling.
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.
~ • • •• I I Jr I tr
• I ~r I •••
~ • I ••••
tr
I Jr l • I • I • • • 1.
~ • • • Jr I
tr
.1 •I• I • • • 2.
~ • tr tr I
• •• I • • • I I I • • ·3.
• l
••
1IIIIIIl~~~~
lsI. Th. Th. 2nd. 3rd.
!~~!~~
• • •tr • • •tr ••
tr tr
I • I • I • I • I 15.
tr tr tr
• • • • • ' . 1 . 1 . 1 •• 11. I • I • I • I • I j5.
tr tr
• • • • I • I • I • I • • 12.
•Jr II Jr I • 16.
• I• I
.-i tr tr I
• •• I • I • I • I • • I 3. Jr I • • I 14.
tr
"
• •• • I ~r I • I• I I I I
tr tr tr 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.
[31]
4(d) TREMOLOS (Sixths. Sevenths. Octaves)
Cont.
~
Jr I tr tr
••• I • I I I I • I I I
~ • tr
I
tr tr
••• I ., • ., I I I 17.
~
• I ••• I
tr
I I xtrl X· • I I 110.
~- I •••
tr
., •• ,
tr
.1 I I
~
• I ••• Xtr , Xtr• • III.
~ • I
tr tr
••• ., ., ••
tr
I I I
V
• I
••• Xtr , Xtrl
• I 112.
~ ., ··1 ~r I .X
tr tr I
tr tr
• ••• • I I I
•
tr tr I I
• I • •• -I I I
~
Xtrl
.-1 •
• • Jr I I • I I 113.
•?
tr tr ~rl
• I • •• • I I • I I I
~ ., ., tr
tr tr tr tr
I ·1 , I
• I
•••• •tr I Jr Xtrj • I I 114.
• I • ••
~
tr
• I •••• I Jr I I Xtrl • I I 114,
•
__I tr tr
••• ~8.
~ . • I ••••
tr
I tl r I •tr I •tr I • •• 15.(+)
,
•
tr • --
• I • • I I ·1 • Xtrl I 19.
[32J
I
I
r
7. Avoid moving the flute during the tremolo. Direct the air
8. Alternate the trilling of the L.H. key with the trill key.
I,,
• • ••• the trilling of the thumb with the trill key. [see #8J
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 tr 11. This interval must be played louder than #10 for it to be
• • ••• I-«> I • I • I • I 115.(+)
13.
near corr~ct in its intonation. Intensify the air column
for the Dli.
12. Use greater breath support to raise the pitch level for D# •
• • • ~ rd ,
.;r I • I ••
r
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
tr ing of the R.H. keys.
• • • ~ • • I• 1 I 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
• .;r I
tr bility of certain tone holes not being covered adequately.
• • I • Xtrl • I 119.
16. Anticipate the action of the trill key to aid in the proper
coordination.
tr tr , 17. Vent approximately one-half of the tone hole, 1st key, R.H.
• ••• ~ I • • •• 118.(+) 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 tr
• •• • r--«r-I •I•I• I 120.(+) 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.
1-1.....t-t-I........-+--1-iI."-+-\---+--+----11 21.( +)
21. Vent the 2nd key, L.H., scarcely while trilling. The upper
note is a harmonic at the 12th.
[33J
r
- -
tr ,
•~
-I I I 121.(+)
tr tr
I ,21.(+)
~
•
tr
-,
tr
-~
~ _I
- I - - I I I- I I 124.(+)
.-
tr
r--o
tr
- ,-
tr
~
__ 118.(+)
• I • I - 1• I ~
I I I I I I 21.(+)
~ -
tr
I • - o----l ~r 1 -I _I __ 118.(+)
~
Jr .
I tr tr 0-1 Jr 1 _I- I I I 125.(+)
- tr
-,
tr
~ • -~
~
~
Jr I
I -I -I I I I 22.(+) _ ,
I 124.(+)
-- I
tr
- --I
tr I _I
~
~
tr tr I
-
-~ -
~ I 121.(+) -I I - I 1 121.(+)
tr
-,
tr
,-
~
~
Jr
tr I
1
• -()-----1 -I I 122.(+) I I I I I 121.(+)
tr
~ ~
I
~
I _ I - I - - 12 3.(+) I I Jr I - 1 - 126(+)
-
j--()
-. - ---
tr
~
~
tr
~
- I - I - \ I I 1 24.(+) l tr I tr I I I I 127
[34]
2nd. 3rd.
l~~
B~
tr
~ • • • I •
~
tr
• • • •• • I • • 130.
~
• ,r ~r • I I Jr 1 ~r I
•• I 127. tr tr tr I
~ •••
--I 1 • 1• X I • • 113,31.
tr tr
~ • • •
tr tr
• I .rr I .x l • I H27.
~
•
tr ,r tr
• • I r-+-\ ~r Xtr,
•I 127. 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.
tr Jr I tr tr
~
The upper note is a harmonic at the 12th.
., .XI
monic at the 12th, but on a low C fundamental (vented).
tr
~
tr tr
• ••• I -I 128. 24. Vent approximately one-half of the tone hole, 2nd key, L.H.
while trilling. The upper note is a harmonic at the 12th.
25. Vent one-half of the tone hole, 3rd key, L.H. The A is a
harmonic at the 12th.
tr .
~
• • • • • ~I .X I I • • I 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 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.
30. Direct the air column outward and to further the responsive
tr tr Xtr ,
~ •• ••
e-----i I • X • • 113,30 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.
Jr, ..
~
tr
Jr x I ,
• I
• I 113 1 33.
(+)
~
tr
I I x I I .1 • • 113 131.
• I
•••• ~rl Jr I I I •• 134.
~
tr tr tr
• I •••• I I X I X • I • • 113. tr
~
tr tr
·1 • x I • I H 31.(+)
~
tr tr
• I ••• I I Xtrl X • I • • 113 131.
tr tr I tr tr
• •
• • •
1tJ=
I I I I C) )( I I H13,35.
(+)
tr tr I Xtrl
~
tr ,
• I
•••• .X • • 113.
~va---,
•
tr
~rl
I
•••• • I I • I I 136.(+)
~
Jr I
•
tr tr tr
• I •••• • x I • • /13.
8va--.,
tr
tr tr tr
• ~rl ~r I I • I I 137.(+)
••
£ • I •• • • I x I • • 113,31.
•
8va---,
I I
~
tr , ~rXtrl I
• •••
¥
I tr
I ~r I
I I • • 113 1 31. tr tr I
• I •
• • ~ •• H13 138.
(+)
[=~
~r .tr, tr tr I
.X I • • 113,32. tr tr
I
~cirl tr
• I
•••• •• I I 1(+)
(+)
[36 ]
~ •
tr tr tr
• •• ~,.....~I-+-+-11----.-+-1--+--JI 39. ..---+~.:.:-+--~
8va--,
~
tr
140.(+} • • •
tr tr
• • ••• • I 140.(+}
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.
••..--I--.--.. . tr
(»)--+-~
Alternate the L.H. with the trilling in the R.H .
34. B~gin the tremolo by giving breath pulsations to the upper
G~ 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
i----(')-4.--I-+-1--+-+----+--J (+) key, R.H., is vented slightly.
36. Vent about one-third of the tone hole, 1st key, R.H.
37. The 1st key, L.H., is alternated with the trilling of the
R.H. keys.
••r----I--...r--~o--j I (+)
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.
• •
tr tr
• e>--e r-Jr I • I • I I 42.(+) 40. Vent approximately one-fourth of the tone hole, 1st key, R.H.
41. Also vent the 2nd key, L.H. slightly, while trilling.
42. The 3rd key, L.H., and 1st key, R.H., are vented slightly,
tr tr L....l..-J according to the dictates of the interval in its level of
I~.....•...--:X!lf-+-+---+-....
j H, I I 43. (+) 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
8va~ (b) A
~
(c) A
tr
• • •tr • (d) E
(e) A
tr tr tr These
• • •• 44.(+) 8va~
tOnal ef
be most
~
tr tr (I trasts.
• •••• tr I I Jr I 14 4 .
..-+--+--"X"~-+-+--+-J
1 - 1. . . .
-I
I Altho
erally i
breath p
I Jr I I • I I pianissi
sitively
notes to
check til
imperati
in balao
tr 44. Use the low B key when available. tack tha
tr C> I • I I x I • I I
• 145.(+)
45. Vent about one-half of the tone hole, 2nd key, L.H. Alter
special
Hence, t
with eas
46. Alternate the trilling of the 1st key with the 2nd. A firm
tr action by the 1st finger must be accompanied by a slight Howev
• ~r • I breath accentuation for the B. offering
er breat
pitch Ie
clined t
tr tr
• ••• At ti
use of a
followin
suggeste
ness giv
plish th
mended t
tr tr fingerill
• • • I 144. The adju
to the t
teristid
duct ion
dependcn
tonal sl":
tr tr oughly t
• ••• I •• completlO
dynamic~
illgS is
essenti~
5ALTERED FINGERINGS 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
Nearly all of these altered fingerings will require the use of ter-tone scale; and because of their relationship with the function
the French model flute. They produce notes possessing two or more of the harmonic series, they form a fundamental approach in the pro
of the following characteristics: duction of multiphonics.
(a) A transparent tone structure
(b) A higher pitch level than with normal fingerings
(c) A variation of timbre
(d) Extreme pianissimo, with sensitively posed adjustments
(e) 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 • •• • ~
•• .',2.
check through their application. When executing these notes it is
• •• • • 0-+-0 •• I 1,2.
~
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.
• ••• 1,2.
Altered fingerings for the notes of the third octave will be of
special interest since the breath support for these can be lessened. • ••• 1,2.
Hence, the adjustment in the level of intonation can be accomplished
with ease and flexibility. • ••• 1,2.
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
~- • • • o--i ~
• • • • .',2.
pitch level can be attained for those notes that normally are in
clined to be sharp. These also possess a different timbre. • • • 0-1 f-o • • • • .1,2.
I 1,2.
•• • • • I• • • ••
~
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 • • • 0
• • • • 11,2.
suggested by the accompanying material, and with equal attentive
ness given to its resulting tone production. In order to accom • • • o-e
o---e • • • • • .1,2.
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. .
• •• • • • •• I 1,2•
The adjustments for these varicolored notes must be made according
to the treatment of the air column and the notes' resulting charac
• •• o---e • • • • I 1,2 .
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
• • •0
• 0
• • I 1,2.
tonal shadings, nnd minute modificntions of intonntion will be thor the tone holes completely. Apply a wide aperture and use
l . Vent
oughly tested as he nttemllts to develop a technique for venting. A very little breath support. This will lower the pitch signifi
complete understanding of this proceduJ'e for altering the pitch, cantly, and at the same time produce a light, and transparent
dynamics, and tone quality is vital, and the u.se of special finger tone structure.
[39J
ALL FINGERINGS ARE USED FOR PIANISSIMO UNLESS DESIGNATED BY(*).
5ALTERED FINGERINGS (Cont.)
~- • ••• • I () I I • I 17.
••• • •I x I • I 15.
~- • I • I • I • • • 1,2.
~- •
I • • • H> I I I •• 18.
• I • I • I • • I 1,2. • I
• • • ,
9.
~- • I • o-e • I • I • I • • • 2.3.* • I • • •
H I I I • 110.
I • • o---e • I • I • I • I 12,3.*
t¥¥t= • I
• 0 • I •I•I• I • • • 4.
••• • I• I ••
.~- •
I I H> I 18.
• I • ~ I I I I •
I I 13.*
~ • • I
I
••
••
•I•I•
• I •I • ••
I • • • 3.*
I I ~- •• II • •• e>---.
e>-e
• o---e • II • 1 • I • • • 11.
10.
I
• ••()
• I • I •• I 14.
• I •• • I I •
I 112.
M- • I
I
•• •
••
•I•I•I•
• I • I • I • I
I 13.*
13.*
~- •
I •
• I • o---i
I • I
()
()
I I I
I
I
• II • • II
I • I 110.
I 113.
I •• • I • I • I •• I • • • I • • • I , I /11,14.
~-
,
• I • • • • X • • I I 15. • I • • I I • I 0 I • I I I 17.
§2g • • I • , • I •• j I 113.
• X. • I • I 15.
I • () 1
I
••• • I • o---e I • I • I • • • • 3.*
~- • I
• •• • X • X •• • I 15.
•
~- • I •• • ••
I I • I 0 I j 17.
I
• •• •• •I• I• 15. 0 I • • [ • I 115.*
• I
• • I•I •I () 16.
[40J * THESE ARE USED FOR FORTISSIMO ONLY.
-
3. This fingering makes possible a dynamic level that is louder
3. Vent by using the trill key but only according to the desired
level of intonation.
• • • • •
~- •
I () 17. 6. Adjust the intonation by venting approximately one-fourth of
• • • f--O • •• 19.
8. Vent approximately one-fourth of the tone hole, 1st key, R.H.
~- • •• •• • • • • 9. The entire tone hole of the 1st key, R.Il. is vented. Use a
I I 116. sparse air column for the tone support to be used in maintain
()
• H> I • • • 18,17
10. Vent the tone hole according to the existing level of intonation
• • ~ I • • •• 18. while executing 'a diminuendo •
• • • f-<> I• • •• 19. II. Vent about one-fourth of the tone hole, 3rd key, L.H .
12. Vent approximately one-half of the tone hole, 3rd key, L.H.
~- •
•• •
I Ie>---i •
••
110. 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
I I •
I I I X 0 118. immediate tonal response, nnd with tllis a veiled tone quality
is'produced with ease.
~ 1--4> I • •I 119.
14. Vent approximately one-fourth of the tone hole, 3rd key, L.H.
£-
This produces a transparent tonal effect.
• • ••()
• • XI • • 113. 15. Vent about three-fourths of the tone hole, 2nd key, L.H. I f
• 0
•• I •
0 I 18,20. this is vented less, the note may be played louder, and a greater
content of harmonics will result in its tone structure •
note will be lower in pitch.
The
a-
16. Use an extremely soft attack to ensure greater sensitivity in
the production of a light and clear tone structure.
• • 0
• • I
• X
I • 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.
• • • 8,18. 20. Also vent the tone hole, 2nd key, L.H. slightly •
• • • I • 0
• 118.*
I
• • • ~ • 110
[41J
Ij
5ALTERED FINGERINGS (Cant]
8va---,
-$ • • .1.1
~
~-.••...--+-__•
~
• 0
• • 118.
• •,---+--__--1 0 •• 118.*
19. This fingering should be applied when a harmonic tone quality ip
8va----, desired. It is not for purposes of producing subtle dynamics.
§== • ••• «> I •I•I 119. The note demands the application
the tone holes indicated for the
of firm breath support. Vent
necessary adjustments of pitch.
20. Also vent the tone hole, 2nd key, L.H. slightly.
~-
21. TIle entire tone hole of each key, 2nd and 3rd, R.H. is vented.
••• • I o----t-<>. I 'I 21. 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
~- ~
t-----..J-+I---t--+---~.""-+-11 10.
23. Use a lip attack for added control of the pitch level.
I •• I I r-41.~X~c>-+--+--4I.t-+--+----i1 22.
fiF=--. · ·
24. Depress the 0" trill key only slightly for the purpose of
diminuendo.
Ir--+I--'X)f----jl-+I~•....-+-+---+-ll 23.
• • ....-1---+---.
• ........-1
1-0 X I X I I 9 , 24.
~-. ••• • ·1
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
• j • • 1* 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
[42J
tone colors. Identifying these timbres, and adjusting to their accompa usual considerations would apply for its expression and it should be
nying physical sensations will enhance the performer's adaptabilities in used with discretion.
the development of embouchure control. Also, the application of a posi
tive approach to the function of the air column will occur with greater In most cases due to complexities that may be encountered with some
sensitivity. of these fingerings there will be very little dexterity or facility for
rapid passages. Flutists must determine which fingerings will serve best
To establish the scale of microtones(quarter-tones), it is necessary in a given situation. At the same time, it is assumed that equal con
for these new sounds to be accepted in the traditional sense, and played sideration will have been shown by composers in their compositional de
with firm conviction. It is a known fact that when the flutist possesses mands, and that the musical structures can be clear of technical hazards.
a well developed tone structure for the semitones; the prevailing intona
tion also will be appealing. This same standard of performance would ap The notes of the chromatic scale of semi tones have been illustrated
ply, and hopefully should exist, when developing the quarter-tone scale. (in parentheses) with the quarter-tones in this chart. To adjust for the
Therefore, adjusting to the array of timbres that accompany the various tuning of each microtone properly, the regular semi tone should be played
notes of the quarter-tone scale should become natural, and their tonal first. Following this, each fingering for each quarter-tone ought to be
characteristics accepted as being ordinary. 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
The fingerings included in this chart are based on an elaboration of acteristics. With this, the player then should react to the resistance
the harmonic series. The conventional response of the overtones is al factor which is set up in the flute. This is resolved by recognizing a
tered by venting certain tone holes, which brings about the formation of physical sensation that is demonstrated by the manner in which the tone
the multiple tube-lengths. This departure from the fixed overtone ar responds. At this time the embouchure should be adjusted accordingly. Re
rangement permits the sounding of the neighboring harmonics and with calling this experience each time that the fingering is used should re
this occurrence a chromatic quarter-tone scale can evolve in an organ sult in the performer cultivating a familiarity with a more definitive
ized manner. The use of these fingerings can bring about a greater flex approach to these tones and an anticipation of their prevailing pitch
ibility when endeavoring to achieve absolute control of pitch. levels.
The listening required for the proper placement of the microtone in Contemporary composers have used a variety of signs and symbols to
tervals is indeed acute and becomes intensified with each effort. This indicate the sharps and flats for the quarter-tones. In order to give
hopefully ought to assure the guiding of the intervals of semitones. this chart readability, arrows extending from the stems of the conven
tional alterations have been used. These denote that the pitch is
As the quarter-tones are learned they must be treated as new funda raised or lowered a quarter-step. Although only sharps have been used
mental notes. The tone control for these ought to be developed justas here the player must assume that the enharmonic notation would be used
it has been for the regular semitones, and an understanding of their in performance:
placement in the schema will add immeasurably to their eventual evolu
tion in the production of multiphonics. ~Qqing of pitches, normal At, same as 8~; Et, same as ot, etc.
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 Also, the enharmonic pitches apply as follows:
proach to the tempering of the pitches for the microtone scale. Too of
ten this technique seems unreliable, although in a number of instances A~, same as 8f, or A1; ot, or cl, same as o~, etc.
it can prove to be beneficial and will assist in the effectiveness of a
particular fingering. Unquestionably, a great deal of experimentation with fingerings
such as these will result in acquiring added facility in the manner
Frequent adjustments of the embouchure in conjunction with the use
in which all facets of tone production are studied. Other fingerings
of breath pressure, and the directional change of the air column, will
may be conceived for notes of this scale. However, the criteria in
be necessary for most of the notes. Instructions for such treatment
volving their adaptability will be similar to that already described
will be given for each note.
in the preceding paragraphs.
The French model flute is an absolute necessity in the production
QUAIITER- TONE TIULLS
of a great many of these notes, since there is no way in which the
~ IP,IO.
•I I C) 1 I 1 I I •
I 1 13.
• • I • I I • • • I ! I I 14.
~ I • • • •• I I 15.
-
iC#O)~
e-+.
IA,IB. I ••
••
e
• •
•I• I
0
0
I
•I
• • .1,2.
I 13.
~
~ IR.
•
•
I
I
I
• !I •
C>
••
•
I
I
I I I
f----o I
/--0 I •
• I • I • • • 6.
• 1 • I • • 17.
I • I • I 14.
• I
••• • I 0• I • • ·12.
I
• • I •• I • •I ••
I I I 14.
~ 0 I I • I I 13. • I • • •
f----o I • I I • • • 4.
IC,IO. I ••• I •
• I • •• I
•I• I • • I • • 4.
• I • •• f----o I • • I • • 1I
I(U)q"gg
~ •I• I •• I I 14.
IE,lFe I
• •• r-o •• 13.
IS,IT I
• I • I I 14.
1Ge---l
• •• r-o I • 3. 1
IS
IS~
I I
• () 1 I I
I I • I --t-1 8.
I (~~ • I • • D---i I • • I • I • • II.
~ IU I ()
• I I • • 1 • I • 19.
~ IH.
•• D------i r.-o I •I•I• I 14. IV.
• II • I j
•x• I •• I 15.
IH.
•• • I • I I • • 14.
o-------j I IV.IW.
• • I 5.
IJ. e • • •I • I • I • • I 14.
IJ. e • • • I • I • I • I • 5. 1 ~ fX,IY I e e • I ex • I•I 13.
• • •• I • • I I
I () 110.
I(#e)~ IK,IL.
• • I 1 I I I I • I
()----e 13. IZ,2A.
• • I I I X • • 14.
IM,IN~ f-O • I I • • 15.
• I • • o----e ,I • • I • I • • .5. ICia) M" 2B,2C.
••• I • I• Io• 13.
~ • I I • I • • 15. I
• e • • I • x. • I 3.11.
[44J The preferred fingering for each note is illustrated first.
8. This fingering effectively produces a subdued tone quality and
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.
11 • The 3rd finger R.H. should lean gently on the trill key in order
• •• • 0 • to vent for the appropriate degree of intonation •
~2~L: • •
translucent tonal structure is indigenous to most of these
o-j
•I XI • • 112. fingerings.
• •• • I 0
• I 112.
IV I Thumb key I UP to Q
lW I 1st L.H. I UP to Q
ID I 3rd R.H. I DOWN to ~(sharp)
lX I G~ key I DOWN to D
1. Apply a mlm.mum amount of breath support using a wide aperture.
This note lacks the usual tonal presence of the low register IE I 2nd R.ff. I DOWN to I"
lY I E~ key I UP to :J)#
and its use is limited to extremely soft attacks.
IF lIst R.H. I UP to 1"#
lZ I D Trill key I UP to D#
~. Direct the air column downward to adjust for the level of into
IG I 2nd & 3rd R.H. I DOWN to F
2A I 2nd L.H.
nation. This effort must be exaggerated when using a low C.
(ring only) I DOWN to D
IH I 1st, ~nd UP t (.#( I )
3. This fingering produces a tonal response that is similar to
and (3rd) R.II. I 0 ~ S WI'P 2B I 3rd R.H. I UP to I':
that of the notes of the tempered chromatic scale of semitones.
[45]
8(a} QUARTER-TONES AND QUARTER-TONE f
t,
1
(~q~~ 3Fe
•• ·1I
I 3G.
3H,3J I
••
- • • 0---1 • I •I I
I 13.
2N.
(~I~~ t
2P. I I • 114. 3K. I • I I
I I x I I •I 13.
2a.
• • •
1 II 115. I 3L I
m
4.
(.0.) qn ~3M,3N I I I
I I I I x I • I I 118.
2 S,2T.
••I o--t f-o • •I•
I I I 13.
I f
• • •• •
() I 1---0 I • I • I I I 19,19.
2T.
••••
1 r--o • I • •1
I I •
13.
3P I
• I • I • I I • I
112.
• • •o---e•
I () I 1 114.
3Q.
•••• I • I • I • I I I 3,17. 'r:
•• •I
rztt=
2S,2U.I I I I I 13.
.j
2.,2W. • I 0 I i I I I • -t-+-/3.
(#0.)
f
#.n. ~~ 3R,3S. ••
• • o--e I • I .x •• 13. I
I • I • I •• !
2V,2X~
•I • • I I
I I 116.
I 3S,3Te
•• I • I • I ••
110.
(#~)~ • I • I I •
3T.
• •o--e• () 115.
I
2Y.
• I
2Z~A. I • • •
I 0 I I 116.
3R,3S,3U.
•• 1 I I x I • 13,10.
I I • I •I o• I 13.
• I ••• I
I
f--(>
• I ••• I
114.
(~) ~-& ~.Q 3V.
• I • • I • I • I •• 13.
38. I I
• Q---j I • I
• I ••
116.
I 3W,3X. I
• I • I
I • I • I • I •• 13,17.
• I • o--+-J I • x • x I • I I 116.
I • I I 115.
• •
I 0--+--1 f-<> I • I •• 15 .
3Y. I
• •I 0 I • I ()
3Z. I • +---cr--l
3E. I •• I I • I • I •• 13,17
, I I I I •
3E,30.I • • • I I • I I I I
0 13. 1 4A. I
• • I I
• X
119.
[46J
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.
~
22. To facilitate tuning this note at a soft dynamic level, scarce
48.
•• • •I• 112. ly vent the tone hole, 2nd key, L.H.
4C.
• • X • • 116. 2N / Low C key / UP to ~~ 3L / 1st L.H. / DOWN to C~
40.
••• I • 121. 2P / 2ntl H.II. / DOWN to ~ 3M / 1st L.H. / DOWN to 0
8 va I
2Q / )st I\: 2ntl H.H. / UP to G~
~4E,4F. • • • • • 13. 3N / 0 Trill key / UP to Q#
•• • 2H / 1 st H.II. / UP to ~~ 3P / Low C# key / UP to Q#
. 4E,4F.
•• • • 117. 2S / 1rtl L.II.
(ring only) /
UP t A 3Q / E:D key / liP to 1)#
••• • • • • • • 119.
0
4G,4F. 3R / 1st R.H. / DOWN to 0#
2T / 1st, 2ntl, DOWN to G~
rr±t5= 4H,4J:
·8 va . 1 anti 1rtl R.H. / 35 / 3rd L.H. / UP to E
8 va
4JI
• •
()
• 1-0 • • • 117. 2W / 3rd L.H .
(ring only) / DOWN to A
3V / 2nd R.H. / UP to I
3W / 2nd L.H.
(ring only) /
DOWN t
0
E
_
I
(-Q:)J-e- ,-e 4K,4L I
•()
• I X • 114.
2X / Low C~ key / DOWN to A
Low C~ key / DOWN to A~
3X / 2nd & 3rd R.H. / UP to I
I . 4M,4L I
••e 1• X • 116,22.
2Y /
2Z / 3rd R.H. / UP to 8
3Y / 3rd R.H. / DOWN to ~
••
3Z / 1st L.H. / UP to I#
15. This is used advantageously for n pianissimo. The intonation 3D / 3rd R.H. DOWN to _8 40 / Thumb key / UP to ~
level is controllnble by venting the tone hole of the 2nd key (ring only) /
L. H. slightly. 4E j I s t L.H. / UP to G~
3E / 2nd R.H. / UP to £
16. A firm breath support with a vnrinble volume of air may be ap 4F / G~ key / DOWN to G
plied to produce a reasonable range of dynamic coloring. The 3F / 2nd & 3rd R.H. / DOWN to C
intonation seems controllable as the flow of air iR directed 4G / 3rd R.H. / UP to G#
17. A relaxation of breath pressure seems possible "ith this finger 3H / 1st R.H. 4J / 3rd L.H. / UP to ~
ing. The tonal structure is altered nccordingly, and at the (ring only) / DOWN to £
same time a medium range of dynamic level can be controlled. 3J / Thumb key / UP to £# 4K / 3rd L.H.(vented) / DOWN to A
18. This fingering,will demand coordination when ascending from D, 3K / 1st L.H. / UP to Q 4L / 0 Trill key / DOWN to ~
[47J
Sea) QUARTER-TONES AND QUARTER-TONE 6(b) QUARTER-TONES AND QUARTER-TONE
TRILLS (C Flute) Cont. TRILLS (Alto Flute and Piccolo)
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
_4N,4PI
8 va I
• r---ox x 123.
open-tone-hole model piccolo is available to the player, other
fingerings from the previous chart could be applied. It will be
noted that a great deal of emphasis is placed on the exaggerated
change of direction of the air column for the purpose of tuning.
This will compensate for the lack of venting for most of these
.
I
,j
I
~
•••
i
40. I I X I 119. notes. i
8 va i
4N,4R.
• • I I X • X 13,17.
QUARTER-TONE TRIllS
(.o.)~ft ~
! • • • • • • • xI I e19.
e e 119.
The text materials for these trills are presented here in
the same manner as for those in the previous chart. In some
8va
451
• ()---1 instances the direction of the air column has to be exaggerated
either upward or downward in order to reach the proper intona
i tion level for a single note in the quarter-tone scale. This
(-e-)~-e- ~ 4Te • •• I •X I I .24.
precludes the proper tuning of the quarter-tone trill. When it
occurs, the smaller interval that results is termed a "pitch
I • e 0---. f-O I X •• 124.
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)
it 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.
,~
4Q / 2nd L.H. / UP to ~
4H / D Trill key
and 2nd H.H. /
UP to _B • • e • • I• I••• e I I.@
~
structure becomes sllppl'csi:<ed. This f'i lIf.';er'inf.'; i~ more appro-
IC.
•••• • • • •• 13® priate for il sort ,1Ild subdued ef'rcct.
IC.
•••• • • • 14.® 3. Apply the techniques, noS .ill #')
-, nlll! u:--(.' vcr'y I. it tIc volume
of air. This note milY lack ndeqllnte tOllnl pro,jection.
I (#e)~ ID. •• • • • • • 12.0 4. Using very little bl'eilth support, direct the nil' column
dowm"arct to I'lchieve the lIeceSi:<ary Jevel of' pitch. 1I0wever,
IE.
•• • • • 14.® the tone qUilli ty of the lower register 01' the piccolo will
project substl'lntiillly.
5. Use a slightly 'victe I'lperture ilnd il direction of the air col-
.~ IF.
• • • • •• 14.0 umn that is simill'lr to that of the preceding note •
IG.
• • • 14.® 6. Direct the air column downward, but slightly,
tual adjustment of intonAtion.
for the even
I (ci)qn@g IKI
IK I
• • • •• 15.0
lA I 3rd R.H. I UP(pitch-pulsation) IJ I 2nd & 3rd L.H. I UP to e
• • 14.®
IB I 2nd R.H. I UP to F~ (flat) lK I Thumb key I UP to e~
lL I Thumb key I UP to D (Piccolo)
Ffft)~ • • •X • Ie I 1st, 2nd'l UP to G~
IL. 1 16.0 3rd R.Il. (sharp)
•
•
D~
~ • •I • ••
1M. X X 15.0 IF I 2nd & 3rd R.II. I UP to A~ IP I D Trill key I UP (pitch
(fla t) Jlulsa t ion)
IN,IP I I X • 16.® IG I 3rd L.H. I UP to A~ (fla t) lQ I 3rd L.H. I DOWN to D"
(~t~~ 2H I • •
I 2J.
~.n ~ 2K~L. I
(ft)
• ••• •I•I•I I
-~ IR.
IS.
IT.
•• •• ••
•••
•
•
I
I
I
•
••
• •I•
I •• 19.0
I I 12,4.®
16.@
1
I
f
(Ito-) ~ ~-e- 2M,2N.
2P •
••••
••I
I
I
• I • x ••
• I • I ••
17.@
16.~
P
IT.
••• I • •• 14.®
(~) ~~ ~.Q 2Q~R. 16.~,
@
I • •• • I• I••
l(~e)~ • I ••• X I •• IIO.® 2
~ •
g;-Q°fO • I• I••
(.n.) q.n. 2T.
• 11 • 1
• X
I 1I1.@
IU.
•• • • 17@ I va 2U,2V •
• I• • I 11r.®
IU.IV.
•• • • •I I I• IG.® 8 i
0
~2'~X. •• I 1• •I•I
~'W.'X.
17.0
•• • • • I • I • I • 17.@
• •• • • I I x I. • I IIO.@ 8 va I ®
• • I • I • • I 12.® rr±¥:==2~. ••• I I I I • 17,12.
IY.
•• I
®
8 va
~ • I • • I • • \6.@ e;t-E'CilD
i
IZ.
•I • I
• I ••• I x• •• 111.0
• I • I I I®
IZ,2A.
• I 1 I
8 va
I (0.) ~o. ~e 2B. •• •I• •I 16·0 (-&)]-& ~3E.3F I
I
•• I I • 17.@
I(~~... Me
2C,20.
•• '. I • ••
I I •
16.® I8 v a
.'O,3H. • I
• I
• X
I I X • X I I III.@
2E,2F I
• I I 16·0 I I
[50]
2F,2G I
• I I • I •• 16 .®
9. Direct the air column as in #2. However, the tone strucure will
permit an acceptable projection at a medium dynamic level. 7MULTIPHONICS AND SPECIAL SONORITIES
10. Vent imperceptibly by opening the trill key gently. The air col MULTIPHONICS
umn should be directed downward only slightly but the aperture
is to be somewhat larger than for the preceding note. Thisfin No longer can the flutist expect that a traditional flute tone
gering serves best when ascending from the regular semitone. is the only attractive, or acceptable sound structure. Sound phe
nomenon must be valued as significant structure which the aspiring
11. This is suitable only for a loud dynamic level. The note de performer must embrace in order to add to the variety of musical ex
mands full breath support and the air column should be direct pression in contemporary music. In the various periods of music the
ed upward slightly. goal of each generation's performers has been to enrich and augment
the sometimes restrictive character of the sound of the flute. Hence,
12. The additional resistance that this fingering lends to the with this standard of excellence in flute playing, the evolution of
piccolo may cause undue forcing of the tone, unless the perform compositional techniques has paralleled the instrumentalist's devel
er displays control of the embouchure in this octave. However, opment. Accordingly, more and more is expected of the flutist's
the use of this fingering is not as problematical when apply technical skills and resources.
ing it to the alto flute. 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
lZ / 3rd L.H. / UP to A# different categories according to their timbres and dynamic levels.
2X / Low C# key / DOWN to r# They can be studied further by referring to these groups in part
2C / "b Key / DOWN to B and immediacy in tonal response. Quite possibly, some performers
3A / 3rd R.H. / DOWN to G(Piccolo) may be capable of elaborating on these structures to produce upto
2D / 3rd n.H. / UP to C five tones. However, this would require considerable experience
dividuals who have such technical skill, most flutists will need to
2P / Thumb key / UP to C# 3C / G# key / DOWN to G# devote some practice time to these peculiar techniques.
2G / 1st R.H. / DOWN to C 3D / 1st L.H. / UP to A (flat) ~A flexible_~bnuchUI.~_togetherwith sensitivit~ for the appro
2H / 2nd L.H. / DOWN to C# 3~ / 2nd L.H. / UP to A#
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
2J / 1st L.H. / UP to D 3P / D Trill key / DOWN to A felt via the resistance of the flute, the physical reaction to these
must be repeated in virtually all of these chords. The transforma
2K / Eb key / UP to D# 3G / D# Trill key / DOWN to A# tion of this resistance factor, from its normal state in the flute
tube must be recognized; then, the air column can be effectively
2L / G# key / DOWN to D(Alto flute) 3H / 2nd R.H. / UP to B (flat) used in balance with this.
2M / 1st R.H. / DOWN to D# 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 This arrangement of fingerings is not a complete collection of
er resistance. As a barrier, this must be permeated by applying in multiphonics. Rather, it is presented as a systematic study, and
ensity to e breath pressure, and at times with a large volume of a survey of possibilities for tone clusters. There are fingerings
air. Consequently, more attention must be given to embouchure cor which have not been included, capable of producing virtually the
rection for these. Usin a w~ aEertur, the air column needs to same notes as some found in this chart. Probably, there are still
be directed so that a--segment of the flute range can be sounded in other fingerings that may be ascertainable. However, those shown
one air blast. By diffusing the air column, the tone is spread, here seem to lend substantial control for a clear image of eachmul
and thereby capable of including several notes at once. These can tiphonic and are to be accepted only on this basis. Therefore, once
sound simultaneously as a chord, spanning more than one octave of the flutist has developed the technique for these, additional fin
the flute. All of this is contradictory to the normal procedure gerings, producing new chord structures could evolve through the
that prevails for playing single-line notes. For these, the aper efforts of individual research.
ture needs to decrease in size as the air pressure is increased.
The following points may be considered when the multiphonics
The volume of breath support for a multiphonic is an equally are played for the first time. As possible solutions to some prob
important matter. The qeterminant is evidenced by the demands for lems that involved technical deficiencies, these applications con
each multiphonic, and as the player' adjusts to these the physical tributed to the learning process:
sensations that are to be recalled should be used as guides for the
proper maneuvering of the embouchure. (~) Do not isolate the individual tones of the chord as
The text materials which accompany the fingering for each chord
suggest the embouchure movements and technical modifications of the (b) Avoid an excessive covering of the embouchure hole
air column. However, the performance of these sounds cannot be on the flute, and prohibit the forming of a small
achieved with only these directives. More importantly, the player aperture. A diffusion of the air column and a spread
must adapt to these sensitively by "feel", and become accustomed ing of the tone structure should result.
to reacting to the response of the chord with perceptiveness.
(c) A low B must be used when advised,otherwise the in
Many of the chords can be sustained with reasonable success, tervals may not respond with the same assuredness.
chords. '
•• • • I 0 • I • • .2.
This will prevent a jarring of the flute on the embouchure.
(3)~ IA.
••• •I• o• 13.
The following are possible, using the illustrated fingerings:
••• • 0 I • • • 12.
same direction. \(5)~ IC.
••• • 0 • • I 13.
!
-I
(b) MULTIPlE TRILL - CONVERGING -- One note trills upward
while another trills in a downward direction. This is
created by the sounding of a common note onto which
each trill converges.
~--e-
f¥
~-IC,ID.
=--e-
IE.
10.
•••
• •• ••
•
f-o
1-0
•
• I • • • .1.
• • .'• . 13.
• • 3.
~-IB.
(8)
(d) MULTIPlE PITCH - PULSATIONS -- These account for trills
of microtones,smaller than quarter-tones. • •• f---O I • • • 13.
(e) Together with multiple pitch-pulsations, other tones 1. Using a wide aperture, direct a dispersed air column downward.
can be sustained. Little breath support is needed. Close the keys for low B with
certainty.
2. Direct the air column upward. Intensify the breath pressure
The instructions for the above effects have been abbreviated(as sufficiently to effect the response of the upper partials, but
in sections on quarter-tones) and the words,' "lower", "upper", and allow for adequate openness of the aperture to permit an imme
sometimes, "middle", refer to the particular notes in the chord. diate sounding of the lower note as well. Only a minimum of
This is followed by the indication of the direction in which the breath support is necessary. Close the keys for low Bsecurel~
trill is moving.
3. Direct the air column downward and adjust the aperture mainly
for the lower notes. Avoid changing the size of the aperture
A number and a caPital/The key, or keys The resul tant when adding to the breath support for the upper notes. Close
letter identifying the to be activated / effect the keys for low B securely.
note
Ex.- (
/
IE / 1st R.H. / Multiple Trill-UP )
lA / 3rd R.H. / Multiple Trill-UP
f~ ~
.. •• I
• •• •
•
lsI. Th. Th. 2nd. 3rd.
! 8° 8
+ ... !
~ G#
+
f-e
'(21l~~IU,IT. • • I I 17.
I •• •• f-O I
(9) ~
~
e-
IE,IF.
••• ., • I • • ·2. (22)~: -IJ,IP~ 1-0 • I • I • 15.
~-IE. ~.n
1I0)
(f ••• 3.
(23)~ IV. I • • o-l H • I •• I 1-i9,8.
(II) -IB,IG.
•
• •• •
• I 0
I • ••
I • • ·4.
14.
e
(24) ~-IL,IM~
I
• 0 I
• I • I 0 I • • 15.
~-IA,'H. •I• I•I••
• .o-j 15.
(25)~- IM,IW,IX. I • 0 •
(12)
• I 0 • I • I 15.
.. (I3)~ IA,IJ~
•I• •I•I 15.
~..Q..
e
(26) ~ -IM,IJ. I
• 0 • I • I • I 0 I I 15.
(14) ~ fA ,IK ,IL.
• • 0-+
I • • •I II 16.
(27)rW-IJ,IQ,IYe--1
•0 • • I • o • I I l6.
• • • I • I•• (28) ~-IQ.IB.
(15)1:1 -IJ,IL,IM. o-j I I 16.
•
• o • • I 01 • I • • ·3.
~ /-0 I • I • I
IA,IH.
~~~
(16)
IN • • 0-\
I 17.
.
(29)~-IQ,IZ.
•0 • I •I•I •• 19.
(17 ~ -IM,IP.
•• o---j ~\I • •• 17,8. (30) ~~ .
~IL,IQ~
l/8) ~ t-n
IR,2A • I 0 I •• 19.
~-IA,IJ.
• • 0 I I • • r· 15. (31) ~ -IM,IN,2S. I • 0 • I H> I . • I 16.
tt
(l9)~.--IQ,IR.
• • o----j •I• I I I •• 17. (32) ~
A
.D.
IQ,IY~
2C,2D I •I• ,. 16.
(20) _
-IE,IS.
•••• • I 0
I ., • I 17.
(33)~-IJ,IQ,lV,IY~
(34) ~_rN.'Q •
I • I 01 •• I' 1,6.
[54]
IL I • 0 • I f-<> • I •• 16.
6. The air column is to be directed upward very slightly, with
~ ~ t ~ ~~
9. Use an aperture more appropriately adapted to the upper notes
(35)~ ID.IL,IQ.2C~
~1>-+-o---+---+-""-+--+-----1 6,8. 10. Vent the tone hole of the 3rd key, L.H. imperceptibly.
11. Direct the air column downward and adjust the aperture mainly
~-IL. .H.__ for the middle range. This chord is to be supported robustly.
(361 •• o--e t--iI.~I--t.t-tI +-1-t---ll 9. 12. Vent about one-fourth of the tone hole, 2nd key, L.H. also.
~~
t37J ~:n
~-IL,IQ,IW~ r--«> I • I I •• 17,8.
IF / 2nd R.H. / MUltiple Trill- IX / Low C#/ Lower sustains;
111~
(ring only) DOWN key Upper, trills UP
(38) IQ,IR~
2C,2D- I • ...., - I
r-o--t- • I I •• III. IG / 1st R.H. / Upper sustains;
(ring only) Lower, trills DOWN
lY / G# key / Multiple Trill
Converging
IH / 1st R.H. / Upper sustains; lZ / 1st R.H. / Multiple Trill
(39) Q:i Lower, trills UP Converging
'~-IM,IV,2E~ 3,10 IJ / 1st R.H. / MUltiple Trill 2A / 3rd R.H. / MUltiple tones
Converging sustain; middle
. -e notes pulsate
(40)~ lK / 3rd L.H. / Upper sustains;
~-2F,2G ••~+-_.""--(O • • I • I • • • 7. Lower, trills UP 28 / 1st R.H. / Lower sustains;
Upper, trills DOWN
(41) ui lL / 2nd L.H. / Multiple Trill-UP
2C / Thumb key / Multiple Trill-UP
~- 2C,2G,2H ••'--I--....---(O • t-o I • I •• 19. 1M / 3rd R.H. / Lower sustains;
Upper, trills UP 2D / 2nd L.H. / Upper sustains;
p-u IN / EP key / Lower sustains;
Lower, trills UP
~ 2~'iH~.
Upper, trills UP 2E / Thumb key / MUltiple Trill-UP
(42)
-&
• • f--o I 19. IP / 3rd L.H. / MUltiple Trill-UP
(wide intervals)
2F / 2nd R.H. / MUltiple Trill
(43)~ -IQ,IR,2L~'
• • I
lQ / 2nd R.H. / Lower sustains; Converging
Upper, trills UP
l:B: .
•• 19,12
lR / Low C/ Lower sustains;
key Upper, trills DOWN
2G / 2nd R.H.
(ring only)
/ Lower sustains;
Upper, trills DOWN
Upper, trills UP
(45)~--2'D,2N~ IT / Low C# Multiple Pitch '2K / 2nd R.H. / Multiple tones sus
Cont.
07(:::
./ /'
( 1~
(O~)~ , 2Z. I I
••• I
• • I I ••
I I 12.
~
Q-6 ~'
~2X} (63)1~:
~A
(49)
•
• I
IE,IO.
/
2U •I•1 • • .4. ( I I • «>---e 3E.
•I• 1 I I I I .11,13.
(50)~ -""
d-Q (64)
• • I
-2U,2V,2W.
•I0 I I I II.
~-2H,3G~
-.0- f--O I I I I I
• • 15.
It ~
(51)
• • I
IE,2U.
2X •I0 I • • •3.
~
(65)
••• I - IP,3G,3H I I I I I I I I • I I 15.
.,
••• ~IM,2BI
•I • o •
t •
b:a: 3K
I
I I I 16.
(55) i i - l E I
• • • t--o • I • I • • 15. =
(69)
(56) 11-&
~-IH,2T,3D I
~--IM,3N1
= • • •• 9,14.
• ••
f--o • • •
I I I 15. 1l-6
~ ~ (70)
..D..
~_IH,IP I
I] II IP I I •••. • I • 0-+-----0 • '19,14,.
(57)
2T,3D I
• • • r--o • I • I 15. ~~
(71) .
~--(X,3P~ 1---0 I •I •I • I I 6,13.
(58) If: --IE,IY.
•• f--o I • I• • • • 3.
(72) qA
gIX,2H~
."
1-0 •1•J• I ~16.
[56] /
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:= - 3K,3Q,3R 1-1 --I'--.~-4.a--o---e 2P / 3rd L.H. / MUltiple Trill-DOWN 3L / D# Trill/ MUltiple Trill-UP
key
2Q / E~ key / MUltiple Pitch
(74) ~ Pulsations 3M / 2nd L.H. / Multiple Trill
Converging
~2G,3K,3RI • 0 • 2R / 1st R.H. / Lower, trills UP;
~ Upper, and middle 3N / Thumb key / Upper sustains;
::a: interpose Lower, trills UP
(75) ~2B,2G,3Q,3R,3S r----t--.----o 25 / 2nd R.H. / Multiple notes 3P / 1st R.H. ~ MUltiple Pitch
t~
sustain; Middle, Pulsations
(76) trills DOWN
~ 3R .3T,3U --l-~.-e>----J--1
3Q / 3rd L.H. / Lower sustains;
1-1 2T / Low C#/ Lower sustains;
Upper, trills UP
key Upper, trills DOWN
,-
(77)I~i! - - 2P,3 L __- ! -
--I~~.,----4.
1-1
2U / 2nd L.H.
(ring only)
/ Multiple Trill
DOWN
3R / D Trill key / Upper sustains;
Lower, trills UP
gn _
35 / G# key / Lower sustains;
2Y / Low C#/ Multiple Pitch- Upper, trills UP
(78) 3V 1-1 -+--+-~.----....___ key Pulsations
2W / 3rd R.H. / Lower sustains;
3T / 3rd L.H. / Lower sustains;
(ring only) Upper, trills DOWN
(vented) Upper, and Middle
~ interpose 3U / D# Trill/Upper sustains;
t79)ff key Lower, trills UP
~ - I B,2Y,3V --I'--+--4.a-4.~
1-1 •• • I • I • • 19. 2X / 3rd R.H. / Multiple Tones
sustain; Upper, 3Y / 1st L.H. / MUltiple Trill-DOWN
tr.ills DOWN
~-e- 3W / D Trill/Upper sustains;
(80) ~ 2H 3L __-+ .----ia-+_~ 2Y / 3rd R.H. / Multiple Pitch key Lower, trills DOWN
~ 3W. • .1 ~.~X--+-I-+--+-+-:f----t---il 6. Pulsations
~>---'.~+-
3X / 1st L.H. / Upper sustains;
2Z / 1st L.H. / Multiple Trill-UP Lower, trills UP
(811 , _ 2H ,2U •• __.""""'" 7. 3A / 2nd L.H. / Upper sustains; 3Y / 2nd L.H. / Multiple Pitch
(ring only) Lower, trills DOWN (ring only) Pulsations
(82) 1-:
~ - 2U,3X ••~-l---
3B / 2nd L.H. / Upper sustains;
Lower, tremolo DOWN
• .--
•• ~x I I • I 3C / 3rd L.H. / Multiple Trill
Converging
(83) Qg#
[57J
7MULTIPHONICS AND SPECIAL SONORITIES
Cant.
t-e-
D:
19S) It. II
-3P,3Q•
•
I I I I x x I I 115.
b'6
199) 11~
• I X I
• 2. 0 1
~-2H,4E.
.#.0
lIOO)~
• e>---l rox XI • 19,13.
• • I • X • 1 19. IE.
••• 2.
•• • X • I 17.
1I01l
U-e
~ -~
-2C.
••• I--c> •I• I • • •7,8.
1I02)~ JO.
• ••• I
• • I
••
I I 17.
•• I
I •X 19. #-e IPJQ,4F. I
•••• I • 0 I I I I II.
1I03)~
• • e-. r-oX I I • I 15.
UA
-2Y,4G.
• • o-----e 1-0 I • •I 17,13.
• • I • I X 1I04)f'
16. -1L,2H,30.
• •
() !-o • I • I •• 17,12.
-2H,3H,4A~
.n. f-I • I I 115.
~
X ••
• ()----j ·110,15.
lion xx
q.n.
IBJR,3H. I I ••• I • I I • • 14.
• o---j X I •I 113,15.
1I0S) r :D:
-.- IL,3K l----+-.----o- 4.
• o-e r-o-I I X • • 17. t-e
1I09)r?
2U,3K,3L I I e-.
0--1 I I X I X I I 16. •
I 4.
(2) Some Degree of Resonance; (3) Blaring, or Strident Tone;
Medium Dynamic Range Fairly Loud Dynamics
15. Approach the attack for this chord via the top note but widen
the aperture sufficiently to accommodate the placement of the # 4 27 57 74 # 2 37 60 89
lowest note. Direct the air column downward, and apply a sUb
stantial amount of breath support. 5 28 58 3 93
75 39 62
7 29 60 5 94
76 9 41 63 95
8 31 61
3Z I D Trill I Multiple Trill-DOWN 4D I 2nd L.H. Lower sustains: 9 32 62 80 11 42 70 96
key (ring only) IUpper, trills DOWN
10 33 64 83 16 43 71 97
4A I G~ key I Lower sustain~i 4E I D~ Trill I MUltiple Trill-DOWN
Upper,trills uuWN key 14 34 65 86 17 44 72 98
46 I D~ Trill I Upper sustains; 4F I 3rd R.H. I Lower sustains; 15 35 66 90 19 45 77 99
key Lower, trills DOWN Upper, trills DOWN
18 36 67 91 20 46 78 100
4C lIst R.H. I Multiple Tri1l 4G I G~ key I Upper sustains;
(ring only) DOWN Lower, trills DOWN 20 37 68 92 21 47 79 101
22 38 69 93 23 48 80 102
23 40 71 97 26 49 81 103
3PECJAL SONORITIES 25 41 72 103 27 50 82 104
26 54 73 106 28 51 84 105
30 52 85 107
(B) The Tonal Characteristics And Dynamic Ranges
32 53 87 108
of multiphonics are shown here as three predominant effects. 36 59 88 109
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 SPECIAL SONORITIES
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 (C) Suppressed Chords
priate categories.
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
(1) Subdued Quality of Tone; out altering the fingering.
Reasonably Soft Dynamics
By releasing the firmness of the embouchure slightly, and per
# 1 15 34 65 mitting the breath support to diminish, the upper partials can be
18 37 made to disappear. When in some cases this does not produce the
2 73 effect completely, then a directional change of the air column
24 54 must implement this technique. Since the modification of the air
6 80 column can be regulated voluntarily, the suppression of the chords
25 55 can be realized in any desired rhythmic pattern.
12 26 56 90
In a few instances,another note of the chord can be sustained
13 27 57 91 simultaneously with the fundamental while the higher one is dimin
14 33 64 92 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 70 - C 87 - D (A can be alternated with
the number that applies to its multiphonic. The arrows on the alter 74 - C E by releasing the breath
ations have been omitted. Attention is drawn to the fact that as pressure interchangeably)
an added advantage these tones, for their distinctive timbres, may 75 - C 88 - D
be used also as single-line notes. 77 - C 89 - D
78 - C# 94 EO (B can be alternated
The following multiphonics are the most responsive and easiest
to control for this effect. Two-note multiphonics are listed first 79 - C# with GO)
and are the most facile. 82 - d 98 - EO
83 - C# (E alternates with C) 99 - E
Two-note Chords
84 - D 100 - F
# 6 E 27 G# 65 C 91 D 85 - D 105 - A
12 G 32 G# 66 C 92 D 86 - D (f. can be alternated with 106 - B
C~ by changing the direc
13 - G 33 - G# 67 - C 93 - D tion of the air column)
14 - G 34 - G# 71 - C 97 - EO
15 - G 52 - So 72 - C 102 - G#
22 - G# 54 - So 73 - C 104 - G#
24 - G# 58 - S 76 - C 107 - S SPECIAL SONORITIES
25 - G# 60 - C 80 - C# 108 - S
26 - G# 61 - C 90 - D 109 C (D) Connecting Single Notes to MUltiphonics