Diss Ext. Techniques

From Simple to Complex:Extended Techniques in Flute Literature; Incentive to

Integrate Cognitive and Kinesthetic Awareness inUniversity Programs

D I S S E R T A T I O NFor the degree requirement for a

Doctor of Philosophy (Doktorin der Philosophie)Dr. phil.

In Adherence to the Studies of the Department of Instrumental and VocalPedagogy

Written byMag. art. Jennifer Anne Borkowski

Matrikelnummer: S0273825

Institut 5- MusikpädagogikUniversität für Musik und darstellende Kunst Graz

Advisor: Univ.Prof. Mag.art. Dr.phil. Adina Mornell

Graz, October, 2008

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Abstract

The dissertation begins by surveying university flute students and their teachers

about their experiences with extended techniques. Differences in approach, from

Boulez to jazz, are correlated with the students’ partiality towards new music. The

lack of new music studied in university programs lies in the complexity and difficulty

of the repertoire. Complex works are seldom played.

The author identifies causes and finds solutions to this problem. Tools to

encourage greater involvement in new music are developed. Through a newly

graded repertoire list, flutists have access to modern works in every level of flute

study. Practical solutions for studying new scores are also given. Using extended

techniques to reframe and solve common technical problems offers new motivation

to learn contemporary repertoire.

Regarding extended techniques themselves, the author develops a study program

stemming from the teaching methods of Robert Dick and Carin Levine. This

program builds on the acoustical similarities of each technique to allow greater

continuity in teaching plans. The progression teaches body awareness by

emphasizing projection of sound through greater physical energy. The final section

highlights a shortcoming in the pedagogy thus far. In works of the extreme

complexity, demands of breath control are often excessive. Stamina building has

been a neglected topic. (t)air(e) (1980-83) for solo flute by Heinz Holliger is used

to illustrate such challenges. Using the methodology of periodization training for

athletes, the author provides a cogent solution for these deficits.

In conclusion, new teaching tools animate repertoire largely inaccessible in

traditional studios.

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Foreword

As I entered the world of new music in 1999, I began to notice that my teaching

experience had a place. As I studied further, I knew I had something to give. The

music world is changing quickly. As I write, the flute community is getting ready for

the first YouTube flute competition to be judged in part by Greg Pattillo, the beat

boxing flutist. Flutists are catching on to the excitement. Personally, after having

my ears opened to the new music here in Europe, I felt the initial thrill that I got as

a child. I knew I had found something I needed to step inside of.

What’s bothered me is that new music has seemed to me to be kept a secret. It

doesn’t need to be something for a few elite flutists anymore. There is a “way in”.

My goal is to create one.

The work of writing the dissertation has been fun, and I have to thank my former

music history professor Dr. Carl Schmidt for telling me that I could do a Ph.D. I also

have to thank my family, Andy and Julia, for putting up with me being busy writing,

or busy in my head. Thank you for the countless sacrifices you’ve both made

bringing me to the train. Thank you, Dr. Adina Mornell for your support and

guidance. Dr. Christian Utz, thank you for the incredibly thorough corrections

you’ve made. Thank you, Misha Nicolaichuk for the help with the notation software.

Julia, you gave me the perspective I needed to do this. Someday, when you’re

bigger, I’ll tell you how you changed my life! Silvia, thank you for being such a

good baby!

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Table of Contents

I. Introduction…………………………………………………………………………11

II. Building a Bridge to Influence Learning………………………………………21

1. Understanding the Obstacles

a. Common Experiences: Observations from a Masterclass………………22

b. Moving into Modern Repertoire; the Need for a New Grading System..27

2. Building Motivation: Integrating Extended Techniques………………...34

into the Studio

a. Using Extended Techniques to Diagnose, Reframe and Solve Other…36

Problems

a1. Exercises:…………………………………………………………………41

b. Developing a New Mindset: A Higher Sense of Purpose……………....44

c. Professionalism: Looking for Love……………………………………….. 49

3. Goal Setting in Preparing New Works for Performance……..……........50

a. Preliminary Steps; Reading and Listening……………..………………..52

b. Understanding Notation…...…..……………………………….…..……..54

III. Teaching Extended Techniques: a Plan to Develop Continuity in………...65 Teaching

1. Cognitive-Based Techniques……………………………………………..…..68

a. Improvisation…………………..……………………………………………..69

b. Microtonality………………………………...………………………………..73

c. Rhythm…….………………………………………………………..…………78

2. Kinesthetic Techniques: Building Body Awareness………………..….83

a. Borrowed Techniques………………………..……………………………..84

1) Flutter Tongue…………………………………………..……………… 85

2) Harmonics………………………………………………………………..95

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3) Whistle Tones……………………………………………………..........100

4) Altered Fingerings………………………………………………………104

5) Timbral Trills…………………………………………………………….110

6) Tremolos…………………………………………………………………111

7) Multiphonics……………………………………………………………..112

7a) Flying Lessons Volume I for the development of multiphonics.116

8) Glissando………………………………………………………………..119

b. Vocal Techniques…………………………………………………………...123

1) Jet Whistle……………………………………………………………….125

2) Singing and Playing…………………………………………………….128

3) Speaking and Playing………………………………………………….130

c. Percussive Effects…………………………………………………………..134

1) Key Clicks………………………………………………………………..135

2) Tongue Ram…………………………………………………………….140

3) Pizzicato………………………………………………………………....142

d. New Uses of Air……………………………………………………………..147

1) Air Sounds……………………………………………………………….148

2) Inhaling While Playing………………………………………………….150

3) Circular Breathing………………………………………………..……..153

e. A Word about Trumpet Embouchure……………………………………..155

f. Endurance and Physical Conditioning: Periodization Training…………156

1) A Model from Sports Scientists………………………………………..160

2) Practical Application of Periodization for Flutists…………………….165

3) Application in Heinz Holliger’s (t)air(e) for solo flute…………………169

4) A Periodized Daily Studies Program…………………………………..182

IV. Conclusion………………………………………………………………………...190

V. Recommendations for Further Research………………………………….....194

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VI. Appendices

1. Fingering Chart……………………………………………….……………195

2. Graded Repertoire List…………………………………………………...197

VII: Bibliography……………………………………………………………………202

1. Literature for Further Readinga) Resources on Extended Techniques for the Flute………………….213

b) Resources on Improvisation…………………………………………..216

c) Resources on Microtonality…………………………………………...217

d) Resources on Music Pedagogy………………………………………218

e) Resources on Periodization and Physical Conditioning……………219

f) Resources on the Philosophy and Theory of New Music………….221

VIII: Bibliography of Musical Examples……………………………………….223

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List of Figures

1. Richard A. M A G I L L, Motor Learning and Control, Concepts and

Applications, (2004) McGraw Hill, page 253

2. Jennifer B O R K O W S K I, Exercises for Correcting Other Problems

3. Bernhard L A N G, Schrift I, measure 135

4. T_ru T A K E M I T S U, Voice, line 1

5. Salvatore S C I A R R I N O, L’opera per flauto, FRA I TESTI DEDICATI

ALLE NUBI, Performance notes

6. Salvatore S C I A R R I N O, L’opera per flauto, FRA I TESTI DEDICATI

ALLE NUBI, line 1

7. Robert D I C K, Flying Lessons Volume I, page 22


9. Toshio H O S O K A W A, Vertical Song I, symbols

10. Beat F U R R E R, auf töneren füssen, page 3, line 2

11. Beat F U R R E R, auf töneren füssen, page 4, line 4

12. Pier Luigi M E N C A R E L L I, Metodo per Flauto, page 45

13. Robert D I C K, The Other Flute, page 63

14. Olivier M E S S I A E N, Le Merle Noir, page 1, line 5

15. Gerd N O A C K, Frühlingstimme op. 39, line 1

16. Jennifer B O R K O W S K I, rhythm exercise 1

17. Richard S T R A U S S, Don Quixote, Variation VII

18. Shirish K O R D E, Tenderness of Cranes, page 1, line 4

19. Jacques I B E R T, Concerto for Flute, movement 3, cadenza



22. Olivier M E S S I A E N, Le Merle Noir, measure 9

23. Jennifer B O R K O W S K I, Flutter Tongue exercise 1



8

26. Luciano B E R I O, Sequenza per Flauto Solo, page 3, line 1

27. Salvatore S C I A R R I N O, L’opera per flauto/Hermes, page 3, line 1

28. Jeanne B A X T R E S S E R, Harmonics exercises transcribed by Jennifer

Borkowski

29. Robert D I C K, Tone Development Through Extended Techniques, page 22

30. Heinz H O L L I G E R, (t)air(e), page 3, line 8


32. Heinz H O L L I G E R, (t)air(e), page 3 line 8


34. Igor S T R A V I N S K Y, Firebird Suite, Ronde des princesses, rehearsal 14

35. Robert D I C K, Tone Development Through Extended Techniques, Bamboo

Scale, page 32

36. Robert D I C K, Flying Lessons Volume I, number 6, measures 13-14

37. Shirish K O R D E, Tenderness of Cranes, page 1, lines 9-10 to page 2, line 1


39. Carlo Pedini, Il Miracolo, Quarta Scena, measures 1-5

40. Klaus H U B E R, Ein Hauch von Unzeit, letter c to d


42. Robert D I C K, Flying Lessons Volume I, page 4, measures 9-10



45. Robert D I C K, Flying Lessons Volume I, number 2, measures 1-2

46. Robert D I C K, Flying Lessons Volume I, number 2, measure 9

47. Robert D I C K, Flying Lessons Volume I, number 2, line 3



50. Salvatore S C I A R R I N O, L’opera per flauto/COMO VENGONO PRODOTTI

51. Robert D I C K, Flying Lessons Volume I, number 2, measure 1

52. Heinz H O L L I G E R, (t)air(e),page 6, lines 1-2

53. Beat F U R R E R, auf tönernen füssen, page 3, line 1

54. Beat F U R R E R auf tönernen füssen, page 4, line 3

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55. Bernhard L A N G, Schrift I, measures 2-3

56. Harold M E L T Z E R, Trapset, measure 34

57. Heinz H O L L I G E R, (t)air(e),page 5, line 2


59. Gerd N O A C K, Frühlingstimme op. 39, measure 80-82

60. Gerd N O A C K, Frühlingstimme op. 39, measure 34

61. Gerd N O A C K, Frühlingstimme op. 39, measure 34

62. Harold M E L T Z E R, Trapset, measure 25


64. Brian F E R N E Y H O U G H, Cassandra’s Dream Song, page 1, line 1

65. Toshio H O S O K A W A, Vertical Song I, Symbols

66. Toshio H O S O K A W A, Vertical Song I, measure 7-8

67. Bernhard L A N G, Schrift I, symbols




71. Carin L E V I N E, Neue Spieltechniken für die Flöte, page19

72. Carin L E V I N E, Neue Spieltechniken für die Flöte, page19

73. Michelle P R O V O S T-C R A I G, Johnny J O H N S, Carl P O E, Debbie P I S-

O S, Eric L A W S O N, Novice, Junior, Senior, Cardiovascular Yearly Training

Cycle

74. Mike R I C C I, Periodization Chart for Runners

75. Felix Mendelssohn-Bartholdy, Ein Sommernachtstraum, Scherzo, letter P to the

end



78. Heinz H O L L I G E R, (t)air(e), page 6, lines 2-4

79. Heinz H O L L I G E R, (t)air(e), line 8

80. Heinz H O L L I G E R, (t)air(e), pages 4-5



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83. Jennifer B O R K O W S K I, Exercise for Heinz Holliger’s (t)air(e)


85. Heinz H O L L I G E R, (t)air(e), page 6


87. Heinz H O L L I G E R (t)air(e), page 4, lines 6-7

88. Jennifer B O R K O W S K I, Periodization chart for Heinz Holliger’s (t)air(e)

89. Tudor O. B O M P A, Ph.D. Periodization, Theory and Methodology of Training,

Fourth edition (1999) Human Kinetics, page 17

90. Periodization, 12 Week Periodization Chart

http://www.asimba.com/periodization.shtml, Retrieved February 25, 2008

91. Jennifer B O R K O W S K I, Periodization Line Graph

91.Jennifer B O R K O W S K I, Daily Studies based on Periodization Principals

92. Modern Flute Fingering Chart,

http://www.fluteinfo.com/Fingering_chart/modern.php, Retrieved April 15, 2008

93. Carin L E V I N E, Examples of Standard Notation

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I. Introduction

With the emphasis in music conservatories on orchestral playing, the resistance to

learning music composed since World War II remains high. Opinions expressing

resistance, dislike or simple ignorance abound. James Pappoutsakis, former

principal flutist of the Boston Symphony has remarked, “Contemporary music

should not distort the tone quality or degrade the player.”1 The composer Virgil

Thompson said, “The European effort toward writing atonal music not for noise-

making instruments but for those whose design has been perfected over centuries

for avoiding tonal obfuscation has been [....] a waste of effort, save possible for

proving it could be done.”2

Besides these opinions among mainstream musicians, academia has its own

biases. Robert P. Morgan, in his textbook Twentieth Century Music; A History of

Musical Style in Modern Europe and America, dedicates only two paragraphs to the

importance of IRCAM, Institut de Recherche et Coordination Acoustique/Musique

(Institute for music/acoustic research and coordination), and makes only a brief

mention of the Darmstadt Ferienkurse.

The name is written only in passing, omitting any discussion of its philosophy or

current influence on composition.3

1 Nancy T O F F, The Flute Book, (1985) Oxford University Press, Oxford, P. 280

2 Virgil T H O M P S O N, A Virgil Thompson Reader (1981) Houghton Mifflin, Boston, P. 11

3 Both IRCAM and Darmstadt were profoundly influenced by Pierre Boulez as he wanted to move music in new directions

after World War II. Darmstadt was founded in 1946 by Wolfgang Steineke, and various composers who took part there were

Pierre Boulez, Luigi Nono, György Ligeti, Karlheinz Stockhausen, John Cage, Luciano Berio and many others. IRCAM, was

founded in 1969 by Pierre Boulez and was funded by the French Government and Georges Pompidou. Boulez served as

director of IRCAM from 1970 until 1992.

12

During the course of this study, a survey was done among randomly selected flutists

and their teachers at various American universities. Of the 187 flutists who agreed to

participate in an undefined survey, all returned the questionnaire. While all returned

the questionnaire, not all completed it. The following data proved noteworthy.

Extended Technique

Experience

85

No Experience 102

Age Range 18-39

All of the participating flutists are majoring in music. From these flutists, 85 had

studied at least one work with extended techniques. From those 85, the response

was, in contrast to what was stated above, overwhelmingly positive towards new

music in general. It is important to note what repertoire was studied. Most of the

pieces were either short, or rock/jazz based with two classical students even having

credited “Jethro Tull”4 with their exposure to new techniques. These 85 flutists had

performed various works with extended techniques, but most of the repertoire was at

an intermediate level. What was missing from 100% of the flutists was any advanced

work or work of the new complexity5. Also, appearing only once was the Luciano

Berio’s Sequenza I, (1958) and no one had played any work of Pierre Boulez.

Theodor W. Adorno, the noted music philosopher, criticized musical development

in his 1964 essay Difficulties by saying, “[…] the composers themselves, but now

with musical intent, make music as regressive as the people who hear it already

are.” He continues, “Nevertheless, it must want to reach people. For even in its

most inaccessible form, it is a social entity and is threatened with irrelevance as

4 Ian Anderson is a Scottish flutist who plays “rock flute” in the band “Jethro Tull.”

5 The new complexity is a compositional movement dating from approximately 1970. Compositions are known for using

dense notation incorporating poly-rhythms, extended techniques and microtonality thus making the scores highly demanding

and sometimes unplayable for the performer.

13

soon as that thread to the listener is broken off.”6 Although written prior to the

compositions played by many of these flutists, this comment is still applicable. In

the United States, there is a big movement to make contemporary music “fun” and

“accessible.” It has worked, to a point. The problem is moving students beyond the

fun pieces to include repertoire that represents various compositional movements

and styles.

This decidedly more complex repertoire asks musicians to play with extended

techniques for which there is abundant, though only preliminary, guidance. The

pedagogical materials in print are like dictionaries, defining the extended

techniques with a few hints as to how one puts them into practice. The teaching

manuals of Robert Dick7 are more like encyclopedias. The Other Flute (1975) First

Edition) is an invaluable reference book, written with the mind of a scientist,

categorizing thousands of new sound possibilities. His etudes, Flying Lessons

Volumes I (1987), prepare flutists to play his own works. However, they leave

students ill-equipped to tackle the music of composers such as Heinz Holliger,

Salvatore Sciarrino or Brian Ferneyhough. There is not a comparable approach

aimed at complex compositions.

Regarding the remaining 102 flutists who have not yet encountered any new

music, one must wonder what the reason is. When even those pursuing a career in

music have not played the music of our time, one notes the battle that composers

face. The editors of Source magazine, a magazine devoted to publishing new

scores, had the following comment:

“Since, by definition, the avant-garde is at the ‘growing edge’ of music, new scores

must be published and circulated while their concepts are fresh, not years after the

composition. [...] In this way, everyone gains true perspective, and music

6 Theodor W. A D O R N O, Essays on Music (2002) University of California Press, Berkeley and Los Angeles, P. 674

7 Robert Dick is known is a predominant forerunner in the development of teaching manuals for extended techniques. His

three books, The Other Flute, Tone Development through Extended Techniques and Circular Breathing for the Flutist are the

first and most complete books to date. His publisher is MMB Music in St. Louis, MO.

14

advances.”8 It is ironic that new music is still defined as compositions after 1945 or

1950. Some universities still define the modern component of an admissions test

as to include a work of the twentieth century. The education of new music has

fallen behind; there is a lot of catching up to do. The magazine’s commentary

continues:

While it is a fact is that not everyone-least of all professionalmusicians and educators - wants to make an effort to gain ‘trueperspective,’ it is equally true that new music will advance andeventually take over the most conservative citadels of learning-forthe simple reason that it always has, always does, and always willdo so.9

But, how do flutists tackle this work? Many students are left alone, lacking the

resources they have to learn traditional repertoire. Furthermore, psychological

barriers to performance of works using experimental techniques are much greater

in a traditional recital setting, whereas performances being held in the company of

like-minded professionals are much more readily understood and accepted. This

makes the integration of new music into the traditional conservatory studio that

much more difficult. Pierre Boulez’s comments hit the bull’s eye.

What is in fact taught at a conservatory? A certain number oftraditional rules, very limited dates and geographicalprovenance; after which the student wanting to enter thecontemporary field must, as it were, jump with a miniatureparachute, taking his life in his hands. How many are braveenough to make that jump? And how many feel strongenough?10

8 Gilbert C H A S E, Review: New Sources for New Music (1967), Anuario, Vol. 3, p. 80

9 Ibid. p. 80

10 www.Helenbledsoe.com, Retrieved March 3, 2008 12 Harry P A R T C H, Original Preface to “Genesis of a Music”, (1947) University of Wisconsin Press,

http://musicmavericks.publicradio.org/features/archive_genesis.html, Retrieved February 25, 2008

15

The vast majority of conservatories and universities fall short in assisting such a

jump. During the study mentioned above, some respondents were university

teachers who answered on behalf of their students. Some of those who do not

teach modern repertoire said that it was not needed for their students’ careers.

Others said that their students were not ready. One said that she does not see that

her students will need new music, as they are majoring in music education. Harry

Partch in his Genesis of a Music (1947) writes about this very idea, that of

education.

It is not difficult for the alert student to acquire the traditionaltechniques. Under the pressures of study these areunconsciously and all too easily absorbed. The extent to whichan individual can resist being blindly led by tradition is a goodmeasure of his vitality.11

This same idea can also explain why there is comparatively little new music being

taught. Partch calls it unconscious. Music students spend hours practicing in small

practice rooms adjacent to one another. A common aesthetic penetrates the walls.

In an environment where new music is scarce, it makes it that much more difficult

to inject it into the thinking of the students. It is a nice idea to think that students

should resist being “blindly led by tradition.” However, they do need to succeed in

their careers. Without some institutional support, most will not know where to begin

and simply fail. Students will benefit from questioning tradition, but they will do

much better when teachers give them tools to do so.

Partch’s comments continue. To expound on what he is saying one might

substitute the word tradition with convention.

Traditions remain undisturbed when we say: let us improveourselves; let us become better pianists, teachers, conductors,

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better composers. They remain undisturbed when we say: let usincrease the knowledge and appreciation of "good" music.Traditions remain undisturbed, uninvestigated, and therefore aculture of music based upon such palpably noble precepts isalready senile […] A phalanx of good pianists, good teachers,good composers, and ‘good’ music no more creates a spirit ofinvestigation and a vital age in music than good grades inschool create a spirit of investigation and a body of thinkingcitizens. […] Good grades in school are the result of a lesscommendable ability, and no aspect of the musical scene couldbe more depressing than the prospect that those with the abilityto get good grades in school, to copy others, to absorb andapply traditions with facility, shall hold the fort of ‘good’ music.12

What can be abstracted from this quote is that it is not how well students are

taught to play, but how they are challenged beyond music. Students need to learn

to think critically. They need to look for their own solutions. This is vital in all fields

of music, especially in music education. When this isn’t developed, the pattern

repeats itself. Discussions with colleagues have led to some comments about the

“conspiracy” of education. This may or may not be true. What it does reflect is the

passion of those who immerse themselves in new music. It reflects the uphill battle

they feel and the lack of support they have.

Regardless of the student’s technical facility with the instrument, exposure to new

music, complex music and music’s current development is necessary to educate

the next generation. As was said before, questioning is the first step, but simply

requiring students to play new repertoire would be throwing them to the wolves.

The goal of this dissertation is to lay out a new teaching method. This will give

teachers and students the needed tools, enabling repertoire that is largely

inaccessible in traditional conservatories and universities. Teaching new music is

still done by an elite few, the “new music specialists.” Specialists will always be

12 Ibid.

17

needed, but the intention of the dissertation is to bring the rest of the flutists up to

date.

Building a Bridge to Influence Learning:

The Student/Teacher Relationship:

Rather than merely assigning new music to students, the author advocates

developing a rapport with them by understanding their situation. There are two

groups of flutists for whom the dissertation is written: those who have not played

music with extended techniques, and those who have but at an intermediate level.

The first section of the dissertation seeks to connect these two groups of flutists

with an intensified interest in new music. A review of a masterclass gives flutists

something to relate to. This intends to show them that they are not alone in their

experiences.

The dissertation continues by letting them know that despite the strong opinions,

the lack of new music being performed is not their “fault.” There is a basic problem

with dissemination of information that has made it difficult to succeed. The

mainstream repertoire lists are misleading. An amended list and a discussion of

repertoire follows. This list integrates repertoire into all phases of flute study, from

beginner to professional.

Motivation:

The next chapter presents uses of extended techniques in diagnosing other

problems. This will show that one need not wait until the end of one’s musical

education to learn new skills. This section gives the flutist a context in which

extended techniques can be positively used. The goal is to increase extrinsic

18

motivation, by offering tangible results, to those who have shied away from new

music because they felt they were “not ready.”

Moving into more difficult repertoire, the need for a new mindset encourages

flutists to approach new music with a sense of purpose. This is meant to inspire

students to move beyond their comfort zones by showing them a value to new

music that may have been unfamiliar. A short discussion about professionalism

follows. This chapter serves to influence intrinsic motivation.

Approaching New Works and Goal Setting:

The groundwork is then laid for getting down to business. Preliminary steps toward

approaching new scores are listed. A discussion of inconsistencies in notation is

followed by practical guidelines for understanding notation and interpreting new

scores. This section moves step by step to encourage realistic goal setting.

Overall, this first section seeks to lessen anxiety by providing motivational factors

along with practical applications.

Teaching the Techniques:

Moving into teaching the individual techniques, the author has developed a

scheme that distinguishes between cognitive and kinesthetic practice. Because

learning new music is like learning a new language, such categories can help the

student understand the task at hand. Presenting the techniques in this way intends

to focus practice by preparing students for the work of each technique.

Cognitive-Based Techniques:

The author defines cognitive-based techniques as those that require work before

they are practiced on the flute. Microtonality and rhythm are two complicated ideas

in new music. Students benefit from understanding them intellectually first. Some

19

of the practice with these techniques needs to be done with pen and paper,

mapping out the rhythms and intervals. However, by way of gentle introduction,

flutists read a short and fun introduction to improvisation. This is meant to stimulate

learning from the start by presenting a right-brained13 task. The cognitive-based

techniques – microtonality and rhythm – are then presented along with practice tips

and repertoire suggestions.

Kinesthetic Techniques: Extended Techniques to Build Body Awareness:

Kinesthetic techniques are those best learned by physically doing them. Later, the

flutist can refine the movement as they are practiced. The ordering of the

kinesthetic-based techniques in the next section builds body awareness as the

techniques increase in physical difficulty. The “standard” extended techniques are

taught in sections that gradually increase the awareness of projection and

resonance. These groupings are borrowed techniques, vocal techniques,

percussive effects and new uses of air. Each group gradually moves further away

from traditional playing regarding projection. Thus, each group requires

increasingly more energy and air. This approach lets students build on their own

experiences. Practice suggestions along with examples of literature enhance the

readers understanding of the execution of the techniques.

Building Endurance:

The last section of the dissertation addresses an often neglected topic in the new

music world, that of stamina.14 A lot has been written, the problem has been

discussed, but the solutions have only been on an individual basis. This section

13 Right-brained tasks are known as being intuitive or imaginitive. This is also called brain lateralization. Information can be

found from:Roger W. S P E R R Y, Nobel Lecture: Some Effects of Disconnecting the Cerebral Hemispheres. December 8,

1981. http://nobelprize.org. Retrieved June 26, 2008.

14 Stamina in this sense means the physical capability to play a specific piece of music without fatigue or a loss of skill.

20

adapts principals from sports science and provides a complete plan for stamina

which focuses on Heinz Holliger’s (t)air(e) (1980-83) for solo flute.

Aim of the Dissertation:

Overall, the dissertation brings students step by step to repertoire that has been

seldom studied. Teachers are given the tools they need to accompany their

students in discovering this new language. Traditional playing will benefit with

increased tone colors and phrasing possibilities and new repertoire opens doors for

more varied expression.

II. Building a Bridge to Influence Learning

II.1. Understanding the Obstacles

In this first section, common obstacles to or within the study of new music are

discussed. The author begins by reviewing a masterclass she gave. The feeling in

this class echoes many of the answers given on the questionnaires. This section

pinpoints where the real work of extended techniques begins.

21

The next section deals with problems of repertoire lists. Many students are forging

their way alone, or with teachers who do not have wide knowledge and experience

in new music. The repertoire discussion helps them asses their current level and

then provides a road map to guide them from “A to Z.”

II.1.a. Common Experiences: Observations from a Masterclass

Reinforcing the findings from the questionnaires was the author’s experience giving

a masterclass. This illustration is included to go into further detail about how

extended techniques and new scores could be received by university level flutists.

On June 15th, 2007, the author was invited by Professor Herbert Weissberg to give

a masterclass in extended techniques for his students at the Oberschützen

22

Expositur of the Universität für Musik und darstellende Kunst Graz, Austria. After

instruction and time for experimentation with the extended techniques themselves,

the class moved on to Viktor Fortin’s No Problem, 14 Easy Duets with annotations

and commentaries by Arno Steinwider-Johannsen (2006).

These duets are meant for intermediate level students which made them easily

sight-readable at the university level. While working on the duets, the following

issues on the execution of extended techniques came up:

1. The issue of an appropriate speed of flutter tongue.

2. Coordination with key clicks.

3. Weak diaphragm movements in tongue ram.

4. Intonation while playing harmonics.

5. After the “fun” techniques were learned, the transition to “work” with

deciphering new scores was difficult.

1. Two flutists played “Kittens”, the duet in the collection that emphasis key clicks

and flutter tongue. Although the flutter tongue was easily produced, it did give them

something to work on. In the score it is described as a “cat’s purr.” One covers the

entire embouchure hole and flutters into the closed embouchure hole. Discussed

was an appropriate speed and pressure of the flutter tongue in this piece, as one

flutists’ production made the kitten sound a bit too angry, or not kitten-like at all.

Moving the tongue away from the teeth and further back into the mouth while

decreasing the amount of air blown gives the flutter tongue a lighter sound.

Actually, in this instance, one can use much less air than in normal flute playing as

the aim is not to produce any tone.

2. The key clicks also showed a typical temptation among flutists which is to put

the flute down while playing them. The flute must stay in playing position for the

correct pitch to sound. When it is moved away from the mouth, it sounds a minor

23

second higher. When it is moved in any way that covers the embouchure hole, it

sounds a major seventh lower. One flutist playing key clicks for the first time found

it difficult to coordinate them without blowing into the flute as she is used to. In

order to compensate, she put the flute down.

The duet is composed tonally and melodically with the key clicks and flutter tongue

adding humor. The reaction from both flutists at the end of the first reading was

laughter and high-fives.

3. The next duet played was the eighth in the collection, “The Tongue-Breaker.”

This short, one page duet emphasizes tongue-ram. The melody is meant to be

swung and is again tonal and melodic. The duet teaches the amount of diaphragm

movement needed in order to have the tongue ram sound at an appropriate

volume. The tongue ram is set against a low register flute melody that could be

played at its’ softest as mezzo piano. The dynamic isn’t marked in the score, but

with a swung Db major melody, the hushed feel if a piano or a pianissimo isn’t the

right character.

The tongue ram, however, sounds extremely soft in comparison with the normal

flute tone. In order for the opening quarter note to sound intentional and not like a

mistake, one must use an exaggerated contraction of the diaphragm. This insures

that enough air gets into the embouchure hole before it gets cut off by the tongue.

Because of the altered playing position, without a forceful thrust of air, the flute’s

tube will not resonate.

The flutists playing this duet found the tongue ram easy to execute when playing

alone. However, when it was added into the duet it was barely audible. The duet

shows the students that new playing techniques are much more physical and that

they need a higher energy level in their lessons. This experience alone can only be

beneficial when returning back to traditional repertoire.

24

4. The other duets played during this class were “Parrots’ Tete-a-tete” and “Hard

and Soft”. These duets use bisbigliando15 fingerings and harmonics. Noteworthy

was the discussion of intonation. Playing these effects in a tonal context made it

easy to hear the intonation difficulties. One flutist was tempted to turn the flute

inwards to produce the harmonics. Young flutists will sometimes turn the flute

inwards in order to reach the high register. This was probably on old habit that

reappeared in a more difficult context. Turning the flute in limits resonance and

makes the tones very flat. One must push the lips and jaw forward to keep a

constant color. Working on these duets would result in more control over intonation

in general. Harmonic fingerings and the altered fingerings of bisbigliandi force one

to listen outside of the flute’s usual scale. One must compensate for greater

intonation difficulties thus resulting in more embouchure flexibility.

5. As the masterclass continued, the predicted resistance was felt when the scores

became more complex. The problems were not with Fortin’s method, nor with the

techniques themselves. That was fun. The problem was moving into a modern

score. That was done with T_ru Takemitsu’s Voice (1971). The notation is much

more modern from that of Fortin. Advanced students are used to reading music at

sight and not giving any time to notation. In this particular class, they were

impatient during this process. The students were asked to try each technique. They

were reluctant to do so. The introduction of new notation was like hitting a brick

wall and the enthusiasm gained through the duets was lost.

One of the drawbacks of studying new music is that one must spend quite a bit of

time becoming familiar with the explanation of notation found in the beginning of

the score. During this class, several remarked that the difficulty is that one can not

imagine what the piece will sound like. Recordings are often not available. Robert

Dick has solved this problem by providing audio cassettes video recordings where

he teaches his own pieces. This is enormously helpful, but one can not expect to

find this for every piece in the repertoire. Students should know that this lack of

15 This is another term for timbral trills

25

help has real consequences. In a study done by Schoenfelder-Zohodi, the

following chart shows how difficult it was for students to perform a new task without

a visual model. The graphs represent the relationship of the hip and knee joints

while performing on a ski simulator. The first graph is that of from the person who

watched a skilled demonstration after one day of practice. The second graph is that

of someone who did not have demonstration model.

26

Figure 1.Richard A. Magill, Motor Learning and Control

The graph is almost comical. It is no wonder that students feel lost without

someone to show them what to do.

Concluding Remarks:

It is not uncommon for students who have already reached a high level to be in a

learning plateau. Teachers looking to introduce new scores would benefit from this

insight. Mixing originality and fun with practical goal setting can help lessen the

resistance to move forward.16 Also, the need for a disproportionate amount of

cognitive work before one can begin to practice, let alone perform a piece, can be

overwhelming. Students would benefit from a structured repertoire list that first,

allows them to asses where they currently are and second, shows them a forward

moving path without radical jumps in difficulty.

II.1.b. Moving into Modern Repertoire; the Need for a New Grading

System

While there are repertoire lists that list difficulty of pieces with extended techniques,

none integrate the pieces with traditional repertoire. This makes it difficult for

students to accurately asses where they are order the steps they might take to

move forward. This can be both frustrating and misleading. There is not a lack of

repertoire, only a lack of order.

What has been learned from the questionnaires in the first section is that the

experience of those who have played contemporary music was immensely 16 See section II.3.b., “Understanding Notation” for more help.

27

positive. Looking at the repertoire that is studied, it is easy to understand why.

These students have focused on pieces which are intended to teach. Notation is

clear, and the techniques are accessible. Many pieces were “pop” or “rock” based

falls in the intermediate category.

The question is: how do students then move forward playing works of increasing

complexity? The repertoire guides currently in print can be misguiding as they

compile all pieces with extended techniques into the most difficult category. A well-

known catalogue17 lists all extended techniques as a level five, beyond the most

difficult concerti of Jacques Ibert and Carl Nielson. It is no wonder why some feel

that they are “not ready” for extended techniques.

The following is a discussion of repertoire and recommendations for each level of

flute study.18 As has been said earlier, extended techniques need not be relegated

to this last category. In fact, there is repertoire that can be integrated into every

level. The research done on this section showed a surprising amount of resources

especially for intermediate to early advanced students. Using an existing grading

scale, the suggestions have been added to better integrate extended techniques.

Existing Graded Repertoire List19 Author’s Suggested Changes

Easy - beginning, elementary, early junior

high, rhythms to eighth notes, limited

range, less complex key signature

Easy - Extended techniques are

introduced playfully and without

accompanying technical challenges.

17 The Flute World Music Library uses a sheet music grading system found here, www.flute world.com. Retrieved June 23,

2008

18 In the appendices is a representative list for each level. The list is crafted to eliminate radical jumps in difficulty or musical

style.

19 Sheet Music Grading, http://www.fluteworld.com/index.php?action=strona&wart=16, Retrieved March 3, 2008

28

Intermediate - junior high, early high

school; range generally to 2 1/2 octaves,

more complex rhythms and musical

demands, easy ornamentation; e.g.:

Telemann ‘Sonatas’, ‘Melodious &

Progressive bk.I’

Intermediate - Extended techniques fit

into the technical challenges of this level.

Slow introduction of new meters such as

5/8 and 7/8. Range stays within 2 _

octaves.

Moderately Difficult - high school, early

college; increased demands in

interpretation, rhythm, key, range,

technique; e.g.: J.S. Bach ‘Sonatas’,

Mozart ‘Concerti’

Moderately Difficult - Repertoire includes

solo pieces but avoids rapid microtonal

passages and highly complex rhythms.

Pieces are based on familiar styles.

Advanced - college, conservatory;

extended range; technically and

interpretively complex, but generally

written within the confines of traditional

notation and performance methods

Advanced - Repertoire includes most

extended techniques and requires a highly

sophisticated sense of interpretation and

presentation. Circular breathing and

works of extreme complexity are omitted

from this category.

Extremely Difficult - Technically difficult;

may make use of extended techniques or

nontraditional notation systems.

Extremely Difficult - Repertoire could

include quick microtonal passages,

circular breathing, complex poly-rhythms,

extended use of the 4th octave, high level

of stamina.

Repertoire Level Discussion:

The author has accumulated repertoire that can be inserted into the model in the

previous chart.

Level One Repertoire

29

Phyllis Avidan Louke has written two volumes for extended techniques suitable for

beginners even in their first year of study. The first is Extended Techniques-Double

the Fun (2003) written in a playful style with short duets lasting about one minute

each. Her second book of is Extended Techniques-Solos for Fun (2006) in which

the piano accompaniment can be substituted for a second flute part. A beginning

flutist could play the second flute part and gain exposure to extended techniques

while another student or teacher plays the upper line. The pieces are descriptive

and seek to involve the student’s creativity early. One piece called “Fright Night”

asks for experimentation making “spooky noises on the flute”.20 21 It also uses wind

noises and pitch bends which a beginner can have fun with. The idea of teaching

pitch bending to a beginner is also beneficial as it introduces intonation early on. In

her duet book, she writes “Chopsticks” and “Horse Trot” for two flutes using only

key clicks. The benefit of these books is not necessarily for the execution of

extended techniques, but rather for fostering the imagination of a developing young

flutist.

Level Two Repertoire

In level two, Phyllis Louke’s methods could be continued. To add to them are Linda

Holland’s, Easing into Extended Techniques (2000) and No Problem (2006) by

Viktor Fortin. Linda Holland has written five volumes focusing on microtones,

20 Phyllis Avidan L O U K E, Extended Techniques,

http://palouke.home.comcast.net/~palouke/RepExtendedTechniques.htm, Retrieved February 25, 2008

21 Incidentally, this piece could also be an introduction to T_ru Takemitsu’s Voice.

30

harmonics, multiphonics, bends and slides and singing while playing. She writes,

“The non-virtuosic nature of the music allows flutists of an intermediate level and

above to ease into these important 20th century sounds."22 Viktor Fortin’s book

also has one duet focusing on each technique. It is written in a range for an

intermediate flutist and can be played with either a teacher or a fellow student as

both duet parts are equally written. The flutists take turns with the techniques and

are given a break between them with traditional writing. The above methods can

also be used for much more advanced students who have not yet had any

experience with extended techniques. There is room for growth in them. A

beginning student might just find the new noises fun, but a more advanced student

could work on refining the effects for a more cohesive musical statement. Above

all, the works discussed here are enjoyable and creative.

Level Three Repertoire

By the time a student reaches high school, there are many pieces which can be

studied. Robert Dick’s works fit nicely into this category. He has written some jazz

and rock based pieces that serve to bridge a student into the world of modern

music without overwhelming them. He details the playing instructions meticulously

and the scores are very user-friendly. All of the alternate fingerings are notated 22 Larry K R A N T Z, Instructional Materials, http://www.larrykrantz.com/et/et.htm#Instructional, Retrieved March 3, 2008

31

right in the part. The print is large and the rhythms are simple. However, these

pieces can challenge students as they must re-orient themselves with new

fingerings and playing styles. His pieces require some improvisation and high

degree of interpretive involvement. From the questionnaire respondents, these

were the pieces most often played.

Lookout is a “rock” piece written for the National Flute Association’s 1989 High

School Soloist Competition. Flying Lessons Volume I (1987) and Flying Lessons

Volume II (1987) fit here as well. Other choices, depending on the preferences of

the player, are Techno Yaman (2001), a piece based on a traditional Indian Raga

played with a drum machine, and Or (1981), and introspective piece using small

interval multiphonics. Students who enjoyed Debussy’s Syrinx (1913) could

continue with works of Giacinto Scelsi or Kuzuo Fukushima. These pieces require

very little with extended techniques but introduce a style that is more in line with

classical playing. Scelsi wrote a solo flute piece, Pwyll (1954) and a solo alto flute

piece, Quays (1953) which can also be played on the C flute. Fukushima’s Mei

(1962) uses extended techniques sparsely and slowly. Where the pieces of Robert

Dick can help break a student out of the box, these pieces refine a more

sophisticated musical interpretation.

Level Four Repertoire

As said earlier, the questionnaires showed that the repertoire knowledge was very

limited at this level. Some pre-requisites should be considered before a student

32

furthers their study in this level. They would be: at least one work of Robert Dick,

Density 21.5 (1936) by Edgard Varèse and Le Merle Noir (1952) by Olivier

Messiaen. An advanced college student who has played these pieces should be

able to continue an even development into more difficult repertoire.

Aurèle Nicolet has compiled a selection of short pieces, Pro Musica Nova: Studium

zum Spielen Neuer Musik für Flöte, which are increasingly difficult but nonetheless

concise. This collection introduces students to works which are a good pre-cursor

to studying longer works. Ein Hauch von Unzeit (1972) by Klaus Huber and Lied

(1971) by Heinz Holliger are both pieces to be noted. Also in this category, a

seminal work not to be missed is T_ru Takemitsu’s Voice (1971) Shirish Korde’s

Tenderness of Cranes (1991) is longer solo piece using pictorial images of

Japanese cranes in flight.

Level Five Repertoire

These are the pieces that were not mentioned by any of the respondents from the

questionnaires. The pieces contain polyrhythms, virtuosic microtonal passages,

quick interplay of techniques, circular breathing, and dense notation. Pieces at this

33

level do appear on competition lists and flutists lacking experience in level four

would have a difficult time learning them.

Written for the 2004 Internationaler Musikwettbewerb der ARD München, Georg

Friedrich Haas’s Finale (2004) is virtuosically microtonal. The majority of the piece

is fast with large leaps between quarter-tone intervals. The range of microtonality

incorporates all three octaves of the flute. Bernhard Lang’s Schrift I (2003)

alternates between many techniques very quickly and within difficult rhythms.

Breathing is also prescribed in certain sections. Lang uses a “loop” or “techno” feel

in his compositions that, for the listener, mask the intensity of the writing. The 2005

Jean-Pierre Rampal Flute Competition required a few pieces which fit into this

repertoire level. Heinz Holliger’s (t)air(e) (1980-83) is often performed in new music

circles. Salvatore Sciarrino’s, L’opera per flauto (1977) is a long but rewarding work

for the most ambitious flutists. The works of Brian Ferneyhough prove to be at the

end of the complexity spectrum and are learned by flutists who are already

immersed in new music. They are philosophical and the scores are extremely

dense. He layers techniques on top of one another and he himself has said that

there are sections that are unplayable.

II.2. Building Motivation: Integrating Extended Techniques into the

Studio

After giving students and teachers the tools they need to asses where they are,

motivation to study new music still needs to be built. Rather than prescribing new

music like a hard to swallow medicine, the author shows other uses for extended

34

techniques that can bridge the player into the modern repertoire. The author seeks

to influence extrinsic motivation by offering a further incentive to learn extended

techniques; by using them to diagnose and solve problems with traditional

techniques. This shows that this practice has tangible rewards. Also, the first

experience with these new sounds will be productive and positive. This is an

excellent way to counter the bias against new music seen among many university

level flutists. In the forthcoming chapters, emphasis will be on building technique so

that awareness of both the body and instrument are brought to a higher level.

Influencing intrinsic motivation is a bit more abstract. The author has been inspired

by the writings of composers about music, and thus a new mindset has proved

very helpful. Also, the professionalism learned from others has given the author a

higher sense of purpose while studying new scores. She adds these chapters to

inspire flutists to play for new reasons that extend beyond their university

requirements.

Motivation

Extrinsic Intrinsic

Using Extended Techniques to Diagnose andReframe Other Problems

Developing a New Mindset

Professionalism

35

II.2.a. Using Extended Techniques to Diagnose, Reframe andSolve Other Problems

Extended Techniques can be used as strengthening exercises in traditional

repertoire. They can reframe practice for student who has been fruitlessly trying

something over and over again. There is no limit as to when they can be begin.

While many techniques take more energy, not all require the refined embouchure

control of traditional playing.23 Once the student is taught how to produce a

particular sound, it generally comes more easily and more quickly than a normal

embouchure does. In fact, non-flutists could learn some of the techniques more

quickly than they could learn to play a classical flute tone. This section addresses

some of the questionnaire respondent’s answers as to why they didn’t play new

23 The exceptions here are whistle tones, multiphonics and harmonics.

36

music. Several said that they were not ready and sited specific problems with

embouchure. The author was inspired to write exercises for them using extended

techniques to solve their problems. By using modern techniques in this way, the

student’s first experience with them will be positive.

The following problems will be discussed and solutions with extended techniques

will be offered:

1. Low Energy

Jet Whistle Tongue Ram

2. Weak Articulation

Pizzicato

3. Tight Embouchure

Multiphonics Air Sounds

37

1. Low Energy:

For students with a low energy level, work with the diaphragm can open them up

and eventually their sound as well. Jet whistle is the most accessible example.

Students can be taught to blow a lot of air without focusing on the resulting sound.

Done as a quick warm-up, jet whistle gets the diaphragm moving and wakes up the

body. The teacher can guide the student into using more and more air each time

until the diaphragm is pushing as hard as it can. From there, experimentation can

be done by adding fingers, rolling the head joint, changing the mouth position or

with consecutive jet whistles.

The second technique that can be used for an inactive diaphragm is tongue-ram.

The tongue ram will not sound at an acceptable volume level if the diaphragm does

not give a real punch. It can be practiced playing one at a time and then progress

to consecutive tones and finally a full scale.

2. Weak Articulation:

4. Tight Chest

Uvular Flutter Tongue

5. Upper Octave

Intonation Loud Playing

Harmonics Singing and Playing

38

Tongue pizzicato can be taught to students who tongue poorly. Tongue pizzicato

requires a quick and explosive motion of the tongue that can show different

variances of pressure that the tongue can make. Another benefit to the teacher is

that both tongue pizzicato and tongue ram can be practiced without the flute,

making the tongue visible. A teacher can solve many problems by showing the

student differences with the speed of the tongue in a mirror.

3.Tight Embouchure:

For loosening a “tight” or “smiling” embouchure, multiphonics can help. Because

both tones can not be reached with a tight embouchure, the flutist must learn to

relax the lips making a taller embouchure that accommodates both tones.

Also useful in loosening up tight lips are air sounds. For a student with an

extremely tight or biting embouchure, experimenting with air sounds can challenge

the belief that the tone must be extremely focused in order to project. The problem

with a biting embouchure is that the tone does not have enough air to resonate in a

room. The flutist playing this way often does not believe this because from where

they stand, the tone sounds very focused and clear. A listener in the back of a

room will hear it differently. A tone with some air mixed in will resonate more. To

prove this point, the student could be given a piece with all air sounds. A recording

will show that everything was heard. The resonance of the flute tube along with the

resonance of an open mouth and chest are what make these tones audible.

4. Tight Chest

For opening up a tight chest, a uvular flutter tongue can be taught. The flutist can

begin the exercise by becoming aware of the chest cavity expanding, and the

flutter can be added. This technique doesn’t work at all when the chest is closed.

The student can practice without the flute and add in the low tones later. The

39

exercises moving in and out of tone found in section could be used to show the

student when the chest is too tight.

5. Upper Octave

For developing embouchure and intonation control, harmonics are invaluable.

Intonation is the most difficult in the upper octave. Practicing harmonic fingerings

and then adjusting the corresponding real pitch gives the embouchure a work-out

in flexibility. They also soften the lips for more control.

For more pitch control, singing while playing has obvious benefits. Beyond the

practice finding specific pitches, it helps develop a very quiet third octave. It is

impossible to use a lot of air while singing and playing, so flutists learns to control

the notes with the speed of the air, not volume of air. This strengthens the lips and

makes a pianissimo possible.

40

II.2.a.1. Exercises: Extended Techniques for Diagnosing andCorrecting Other Problems

Low energy, inactive diaphragm:

The jet whistles require all the air you have. Try to mimic this energy when

switching to the tongue rams. The diaphragm movement is highly exaggerated

here.

Intonation in the third octave:

41

When harmonic fingerings aren’t given, use whichever you choose. However, try to

match the pitch of all the same sounding tone, regardless of fingering.

Loud third octave:

By singing the lower pitches, you are forced to play with minimal air. This requires

an exact embouchure position to reach the high notes. They will sound quiet when

they do sound.

Smiling or tight embouchure:

To reach both tones, finger the lower note and depress both trill keys. For both

tones to sound, make the embouchure vertical instead of horizontal.

42

Move in and out of air sounds, following the dynamic markings.

Weak tonguing:

For these pizzicato tones to sound, exaggerate the movement of the tongue. No air

is moving through the flute, so the force of the tongue has to make up for that.

Every attack should be all you can give.

In this second exercise, bring the energy into the normal tones in measure two.

Tight chest:

43

Any practice with a uvular flutter tongue opens up the chest. With a tight chest, it

simply does not sound. This can be done with or without the flute.

Place a hand on your chest and flutter as low down in the chest as you can with a

soft “ha”. To get it going, try beginning by inhaling. Switch to exhaling and finally,

add the flute on a long low G. Keep the register low and the tones quiet until the

technique becomes easy.

Figure 2.Jennifer Borkowski, Exercises: Extended Techniques for Diagnosing and

Correcting Other Problems

Concluding Remarks:

Often, a student with a problem is not able to hear it. Putting it into a different

context can open up the ear. A student doesn’t need to exactly duplicate these

energies when returning to traditional repertoire. However, using new muscles, or

old muscles in new ways, opens up the body for greater resonance and variations

of tone color. Trust that these techniques open up new body awareness.

44

II.2.b. Developing a New Mindset: A Higher Sense of Purpose

The effort that is required to grasp new music is not one ofabstract knowledge, nor is it the acquaintance with somesystem or other, with theorems, much less with mathematicalprocedures. It is essentially imagination, what Kierkegaardcalled the speculative ear.24

Kierkegaard’s reference to the speculative ear comes from the chapter “The

Immediate Stages of the Erotic or the Musical Erotic” in “Either/Or; A Fragment of

Life” where he discusses Don Giovanni. In Elvira’s first act aria “Ah! Chi mi dice

mai”, she is furious and outraged at Don Giovanni as he seduces her. Kierkegaard

suggests that this duality should not be outwardly portrayed, but “should be

concealed in Elvira’s essential passion.”25

Divergent forces in the modern sense may be more complex than love and

indignation. It also presumably goes beyond the simultaneous

listening/internalizing the music and the “how did they do that” of extended

techniques.

24 Theodor A D O R N O, Essays in Music, P. 674

25 Ibid. P. 679

45

Adorno asserts that to grasp modern music what is needed isessentially fantasy […] He points out the ways in which […]subjective capacity that would enable individuals to graspmodern music, i.e. the speculative ear and appropriate ways ofpaying attention or concentrating, are made difficult by thatsociety's life conditions.26

Paying attention and concentration are challenged in new music in a way they are

not in, for example, a Sonata of Beethoven. Saying nothing of classical forms,

tonality alone provides structure and timing that classically trained musicians are

familiar with. One senses about how long the piece will be and senses when a

piece is surprisingly too short or to long. The first hearing of the repeated cadences

in the 4th movement of Beethoven’s 5th Symphony might be humorous, or

annoying, but are recognizable as cadences. One can afford to lose track of a

development section because the recapitulation brings the listener back. The

listener can chose to focus on the nuances of tone, the stage presence, or on the

program notes, and can always jump back into the piece. In Chopin’ Piano Sonata

No. 2 in B-flat minor, Op. 35, one hears the final presto, after the intense funeral

march, as surprisingly too short. It is as if the mind unconsciously kept track of the

time and hears that the balance is off. We hear not only from the beginning to the

end, but from the past to the present. This creates tension between what we hear,

and what we expect.

Musicians are trained to hear form, but in music where the form is all fantasy, the

mind must remain present. The experience is analogous to listening to a foreign

language for which one has limited knowledge. The cognates used and context of

the conversation can give clues as to what the conversation is about. But the

listener can find out that those filled-in blanks were wrong, and listen again more

intently. When he or she gives up however, the chance of re-entering the

conversation is very slim. The language of each new music composer is new and

26 Jeremy J. S H A P I R O, Still Searching for Lost Time, Film-Philosophy (July 2005), International Salon-Journal (ISSN

1466-4615) Vol. 9, Number 39

46

often without tonal clues. The only choice is to remain present and follow the

development of each tone.

The speculative ear can hear dualities, process a new sound language and

appreciate the shadings of color by the performer. This type of concentration, or

thoughtful immersion, is also another type of hearing.

Helmut Lachenmann27 describes his experience with the sense of hearing as

follows:

Fourteen Years ago, 1971, at the Stuttgart Theory Congress, atthe time of the student riots, I titled my thesis, “Hearing isworthless without thinking.” In 1978, seven years later, I refinedand augmented it, “Hearing is worthless without feeling,” andthrough this description, I tried to make the terms hearing,thinking and feeling more precise regarding their conditionalrelationship to each other. Today, after seven more years, myfaith in the language is tarnished-often it is in the way-and so Isay now, hearing is worthless without hearing.28

Because this form of discerning hearing does not offer itselfimpartially, first it must be laid open. To lay open means to clear

27 Helmut Lachenmann is a German composer, Darmstadt lecturer and appointed professor at Harvard University.

28 L A C H E N M A N N, Helmut, ““Hören ist wehrlos – ohne Hören”, Über Möglichkeiten und Schwierigkeiten” in Musik als

existentielle Erfahrung Schriften 1966-1995, edited by Josef Häusler (2004) Breitkopf & Härtel, Wiesbaden, p. 117 Original

German Text: “Vor vierzehn Jahren, 1971, beim Stuttgart Theorienkongress, zur Zeit der Studentenunruhen, hieß ich meine

These: „Hören ist wehrlos ohen Denken.“ 1978, sieben Jarhe später, knüpfte ich daran und ergäntzte: Hören ist wehrlos

ohne Fühlen“ und versuchte durch diese Beschreibung der Bedingungen des Hörens Denken und Fühlen als einander

bedingend zu präzisieren. Heute, nach weiterern sieben Jahren, ist mein Vertrauen in die Sprache angeschlagen-auch sie

ist oft selbst im Weg, und so sage ich jetzt nur noch: „Hören ist wehrlos – öhne Hören.“

30 L A C H E N M A N N, Ibid. P. 117, Original Text: „Denn solche Form des wahrnehmenden Hörens bietet sich nicht

unbefangen an, sie must erst freigelegt werden. Freilegen aber heißt, Daschwischenliegendes wegräumen, jene in der

Gesellschaft vorgegebenen dominierenden Hörgewöhnheiten, Hörkategorien außer Kraft setzen, aussperren. Hören ist

schliesslich etwas anderes als verständnissinniges Zuhören, es meint: anders hören, in sich neue Antennen, neue

Sensorien, neue Sensibilitäten entdecken, heißt also auch, seine eigene Veränderbarkeit entdecken und sie der so erst

bewusst machen.“ 31 Thomas S H E E H A N, Hermeneia and Apophansis, the early Heidegger on Aristotle (1988) Franco Volpi et al.,

Heidegger et idée de la phenomenologie, Dordrecht: Kluwer, P. 76

32 New York School, liner notes, 1992 Hat Hut Records

47

out that which lies in between; for everyone in the society tounlock the preexisting dominant hearing practices andcategories of hearing except for composing energy. Finally,hearing is something different than listening to understandcontent. It is, hearing differently, to discover within oneself newantennae, new sensory information and new sensibilities. It alsomeans to discover your own changeability.29

In preparing works for study and performance, attaining a new frequency for

creative work is key. To borrow a term from Arnold Gehlen “world openness” is an

essential element in creativity. Thomas Sheehen likens world-openness to pathos.

He calls it “the ability to have the world appear to one, as Heidegger puts it, to be

captured by the world.”30 This involves openness to the world of sound, and to the

complimentary arts, which “lend one another new energies”.31 This requires the

flutist to step out of the box. The ideals of beauty, refinement, and elegance from

the flute’s bel canto roots no longer apply.

Digressing into an analogy from the 1950’s theater of the absurd, Eugène

Ionesco’sThe Chairs, A Tragic Farse, clearly relates to the divergent elements

heard and seen by the speculative ear and eye. The play is simply an old man and

old woman setting up chairs while they wait for a great orator to come. When he

comes, he is deaf and mute and scribbles nonsense on a chalkboard. When the

actor does this, the audience is not judging his acting technique as faulty because

he does not speak. They get it. It is funny, or scary, but they get it. It is not really

him, and does not negatively reflect on his years of diction training. It is his part in a

play. The audience listening to a flutist may indeed wonder why the player cannot

produce a clear tone, or can’t seem to get a decent breath. They may think that the

performer was not skilled enough to pull it off. (They may be right!) Some pieces

will ask for sounds that are “crass” and embarrassing.

The feeling that what one is doing is important, or even urgent, must be tactile.

48

Schopenhauer’s aphorism on philosophy and poetry is an apt analogy:

The poet presents the imagination with images from life andhuman characters and situations, sets them all in motion andleaves it to the beholder to let these images take his thoughts asfar as his mental powers will permit. That is why he is able toengage men of the most differing capabilities, indeed fools andsages together. The philosopher, on the other hand, presentsnot life itself but he finished thoughts which he has extractedfrom it and then demands that the reader should think preciselyas far as, he himself thinks. That is why his public is so small.The poet can thus be compared with one who presents flowers,the philosopher with one who presents their essence.32

This is a creative challenge. Being captured by the world, not being able to rest

until this is nourished will carry one through.

Peter Röbke asks a poignant question serving to reframe the thinking of students

facing new music for the first time. He says,

The central pedagogical question is: What expressive areas areopened to me by works of the twentieth century? […] becausewhen I clear these things in a piece, I strengthen myself; to thedegree that I deepen my understanding of a composition, Ideepen and distinguish my ability to be expressive.33

32 Arthur S C H O P E N H A U E R, Essays and Aphorisms, (1970) Penguin Books Ltd, London. P. 118

33 Peter R Ö B K E, Vom Handwerk zur Kunst, Didktische Grundlagen des Intrumentalunterrichts, (2000) Schott Musik

International, Mainz, P. 144, Original German Text: “Die Zentrale Diddaktische Frage lautet im folgenden: Welche

Ausdrucksmöglichkeiten eröffnen mir werke des 20. Jahrhunderts? […] denn indem ich die Sache kläre, stärke ich mich

selbst; indem ich mich in die Kopositionen vertiefe, vertiefe und differenziere ich meine Ausdrucksfähigkeit.”

49

II.2.c. Professionalism: Looking for Love

The lessons learned from Carin Levine about professionalism are worth a mention.

Throughout the dissertation, most of the pieces discussed are well composed with

full knowledge of the flute’s capabilities. When one works with composers,

however, it is common to find some who are still developing. Where this entire

dissertation seeks to fill a gap in the flute pedagogy, composers need such

information about all of the instruments. Carin Levine has taken an active role in

performing works of young composers. For composers to learn, musicians must be

willing to help. That means sometimes playing things that are not playable and

tactfully addressing technical concerns in private. She writes:

My work with young composers is one of the most important activities forme at this time. After performing innumerable new works over the pastyears, I believe that I can offer the young composers an immenseamount of information both on a practical and theoretical level.

It is extremely important that the young composers themselvesunderstand exactly what they have written. And understand too, theability of the instrumentalist to be able to interpret and perform theircomposition as written.34

Regardless of the piece, the flutist engaged to perform it still has to step onto the

stage and play it. One questionnaire respondent said that playing works of student

composers can turn a student off to new music. Another respondent answered that 34 Carin L E V I N E, personal email, Dated March 3, 2008

50

he didn’t have all of his students perform new music because he wanted them to

only perform pieces that they really love. That is not realistic. Throughout the

author’s flute career, no other quote has proved more powerful than Carin Levine’s:

“When I play a piece, I fall in love with it.”35 She takes the time, and in doing so

values the composer’s time, by searching for meaning in the piece herself.

II.3. Goal Setting in Preparing New Works for Performance

Moving from a new mindset into concrete steps prepares students for success. A

new framework for practice needs to be set. Often, students will say they feel

frustrated with such repertoire because it is “a lot of work for little payback.” Some

questionnaire respondents were worried about what their audience would think.

One answered that she thought the audience was confused when she performed

Density 21.5. Flutists at this level have been playing difficult repertoire for years

and spend a lot of time refining pieces that they have already learned. The sight

reading level at this point is also very high. Going back to basic problems of note

reading and rhythmic understanding can frustrate an already very accomplished

flutist. Emphasize the growth opportunities that can be explored. There is room

here for personal development apart from flute technique.

These points should be spoken about between student and teacher before

beginning this new aspect of study. The student should understand that the

intellectual challenge will be the first hurdle, and that the musical and technical

work done on these pieces will enhance musicality and maturity.

Ordering the work by setting short term goals can help the flutist enter the modern

score with realistic expectations. Sometimes, the first exposure to a new score is

when there is a requirement for an exam or a competition on the horizon. This can

35 Ibid.

51

be very anxiety inducing. Break it down, take small steps, and the piece will

become attainable.

Short term goals can be ordered as follows:

Components of Preparation

Reading and Listening Understanding Notation

52

II.3.a. Preliminary Steps; Reading and Listening

Students at the university level often spend a lot of time refining orchestral excerpts

and other techniques. A learning plateau then naturally forms. In moving a student

out of a plateau it is important to avoid anxiety and provide new ways to practice.

Section II.1., “Using Extended Techniques to Diagnose, Reframe and Solve Other

Problems”, was one example of this. This section however “permits” students to

take some time away from the flute to do some preliminary groundwork.

Practical Application:

Because of the diversity of new works, the first step should be familiarizing oneself

with the composer’s language and style. Concrete listening assignments can

lessen the guilt about the time away from the practice room.36 Since there is

comparatively little coursework in new music, reading assignments are also

important. They need not be long, but a student should take the initiative to identify

the compositional school and corresponding philosophy that the composer belongs

to. Brian Ferneyhough’s Cassandra’s Dream Song (1974) is one strong example

of this.

36 For more about feeling guilty for „not working hard enough“, please section III.2.f. on physical conditioning and

periodization. The charts in particular explain the need for different components of a larger practice period.

53

When one begins reading, they may find surprising value in the worth of a piece.

For example, the article Cassandra’s Dream Song: a literary feminist perspective

can empower a flutist to tackle this piece whereas the notes on the page, and

perhaps recordings as well, might immediately dissuade. The abstract reads:

Brian Ferneyhough's solo flute music 'Cassandra's DreamSong' can be interpreted in the light of Christa Wolf's book'Cassandra.' The novel concerns the development of awoman's whole character. Similarly, a musician can consider aperformance as an expression of individuality, in collaborationwith the composer. The flute music is thus seen as an attemptby Cassandra to find her own voice in a man's world.37

Ellen Waterman took the time not only to read about Ferneyhough, but to read a

novel as well. From there, she created her own interpretation of the piece. Having

a purpose, beyond winning a competition, is invaluable in this case, as

Ferneyhough’s music borders on unplayable.

Concluding Thoughts:

Overall, the flutist taking the responsibility for this research will be better served

than the one given the information by the flute teacher. Part of the difficulty in the

making the “jump with a miniature parachute” that Boulez speaks about, is the lack

of “answers”. One can take these steps to become an autonomous interpreter of

new music.

37 Ellen W A T E R M A N, Cassandra’s Dream Song, A Literary Feminist Perspective (Summer, 1994) Perspectives of New

Music, Vol. 32, No. 2. P. 154

54

II.3.b. Understanding Notation

Often, a flutist hearing another flutist playing a modern piece will ask simply at the

end of the concert, “May I see the music?” It is often this first glance or the first

glance in a music store that a decision is made to play or not play a particular

piece. Modern notation can be very offsetting with its unfamiliar symbols,

handwritten scores, rhythms and unrecognizable time signatures. While composers

are often trying to experiment with sound via new notations, this complicates the

work of flutists trying to decipher it. Such experiments, while necessary in their own

rite for music to perpetuate itself forward, are left unheard. Ideally, there would be a

place for this in a new music course or artist’s colony where one has fewer time

constraints. But even in the setting of a new music course such as Darmstadt,

interpreters are pushed to learn many new pieces very quickly, and to perform

them within days of receiving the score.

Teachers must impart to their students the importance of understanding the

composer. Adherence to the text is the first step in learning any piece.

Misunderstanding or confusion is not the same as a creative license. One must be

diligent in interpreting exactly what is called for. While a student may hear

themselves as being “free,” an experienced teacher will simply hear lack of

rhythmic control. This aural development takes time, and one must remember this

when interpreting new music. The score is all the performer has.

55

To develop receptiveness to new notations, understanding the composer’s

viewpoint is a helpful. Ross Lee Finney states, composition “ […] has never been

quite satisfactory for the composer’s purposes and therefore the experiment

continues. Why is this process frowned upon? Musical notation is one of the most

amazing picture languages of the human animal. It didn’t come into being of a

moment but is the result of centuries of experimentation.”38

Interpreting notation is another skill area to be nurtured. As one develops the skill

of sight-reading, quickness and flexibility with new notations will be developed over

time. However, a flutist must adjust to the continual development of notation.

The common use and accessibility of composition software such as Sibelius and

Finale have helped composers use standard notation models. However, even

when composers adhere to these suggestions, many new effects have not been

replicated by either other composers or software, and need new symbols. The

following is a short discussion meant to illuminate some of the countless situations

interpreters face with various notation schemes. Perhaps these examples will raise

more questions than they answer. That is the point to be made. This is an element

of new music that performers must continually analyze and question, and this is the

part of the work of interpreting a score.

The examples chosen are as follows:

1. Fingering systems

2. Head Joint Position and Embouchure Position

3. Vibrato

4. Finding the Composers Scheme

5. Publishing Errors?

1. Fingering Systems

38 John C A G E, Notations, without page numbers, listed under Ross Lee Finney

56

The clearest fingering charts to read are Robert Dick’s, but lack practicality

because of their large size.

Bernhard Lang in Schrift I uses a numbering system of a pianist, with the fingers

numbered one through five beginning with the thumbs.

Figure 3.Bernhard Lang, Schrift I, measure 135

T_ru Takemitsu in Voice uses a notation for fingerings without a key explanation

leaving one to experiment with different keys until the correct intervals sound.

57

Figure 4.T_ru Takemitsu, Voice, line 1

The explanation for his fingering graph is as follows:

The holes of the flute are shown graphically as the left and right

hands. The auxiliary keys of the flute are numbered from top to

bottom. This means that the left hand thumb is an auxiliary key

and is number one. Two is the left hand pinky. Keys three, four

and five are, from left to right, the Bb lever and the two trill keys.

Six through nine are the pinky keys on the foot joint, beginning

with the Eb key, progressing down to C#, C natural, and low B.

Salvatore Scirarrino in Fra I Testi Dedicati Alle Nubi from L’opera per flauto uses

the same system. Providing the basic harmonic structure for the movement, 18

pitch sets numbered one through eighteen, and six diads lettered A through F. He

notes that in the pitch sets, which he calls “multiple artificial tones,” one should

balance the tone. When one tone appears larger than the other, it should be

louder.

58

Figure 5.Salvatore Sciarrino, L’opera per flauto, FRA I TESTI DEDICATI ALLE NUBI,

Performance notes

In the score, one sees only this:

Figure 6.Salvatore Sciarrino, L’opera per flauto, FRA I TESTI DEDICATI ALLE NUBI, line 1

As a pedagogical problem, one clearly sees that the lack of uniformity is the first

challenge. A flutist must first decipher the performance notes before a sight reading

is possible. Composers use various fingering systems which the flutist must

experiment with to see which tones are sounding. One cannot simply trust the

fingerings and follow them. Another solution is to simply omit or ignore them.

Georg Friedrich Haas has omitted fingerings in his Finale for solo flute. It is highly

microtonal and one must memorize, or pencil in, the fingerings that work. In

actuality, this isn’t any more work than solving the problems of the other systems

because they do not account for the variances among flutes. Closed holes, B feet

59

and split E keys will alter the pitches, and flutist must use a fingering guide from

either Carin Levine or Robert Dick39, along with a tuner to check the accuracy of

the intervals. Individual preferences regarding embouchure and head joint models

also play a large role in deciding on the fingering.

2. Head Joint Position and Embouchure Position

In Schrift I by Bernhard Lang, measure 6 uses a graphic symbol of Robert Dick

depicting an outwardly turned head joint. This symbol, while graphically easy to

read, causes confusion. Robert Dick intended this symbol to yield various pitches

with different head joint angels, as seen here:

Figure 7.

Robert Dick, Flying Lessons Volume I, page 22

39 Fingering guides can be found in either Dick’s The Other Flute or Levine’s Die Spieltechniken der Querflöte.

60

In this example, the A and the B are not reachable with the same embouchure.

Turning the head joint outwards allows for the major second that one cannot reach

with a normal playing position. Bernhard Lang uses the same symbol, referencing

Robert Dick in the “Zeichenerklärungen” (Explanation of Symbols), but uses it for a

different function. Isolating each effect in measure six, one sees the following:

Figure 8.Bernhard Lang, Schrift I, measure 6

The top line of the score shows a widening embouchure which would make the

tone breathier and less focused. This leaves one wondering what the difference is

between this airy sound and the aeolischer klang found in measures one through

five. The second line asks that head joint be turned outwards, but does not show

any change of pitch. This raises the question of whether there should be a rise in

pitch or not, and if not, if one is permitted to alter the pitch. The third line asks for

the diaphragm to be used, presumably to achieve the graphically notated vibrato in

line four, at a piano dynamic. All put together, in three beats at a speed of 184

61

beats per minute, produces the equivalent of an air sound with vibrato along with a

visual effect of the flute turning outwards.

Beat Furrer’s auf tönernen füssen asks for an embouchure that is opened to the

side, but does not specify which side.

Brad Garner, Professor of flute at the Juilliard School, teaches a release to the side

in order to taper notes without any extra air sound.40 Beat Furrer however asks for

the mouth to the opened to the side to presumably produce an air sound. The

score does not specifically call for that, but it is not notated ordinario as other

sections are and one is coming from a position of having the mouthpiece

completely covered. One must assume then that this is meant to produce a sound

in progression from a closed mouthpiece. Also, covering the mouthpiece lowers the

pitch of the flute by major 7th. Opening the mouth to the side would raise the

sounding pitch.

3. Vibrato

Notated vibrato is another area where one finds many variances. T_ru Takemitsu’s

Air (1996) uses “n.v.” as an abbreviation for non vibrato while Shirish Korde in

Tenderness of Cranes uses “n.v.” to stand for normal vibrato.

4. Finding the Composer’s Scheme

Toshio Hosokawa, in Vertical Song I (1997), devised notation to show three distinct

grades of breathiness (see Figure 49).

This corresponding graded system is also used in the piece to graphically show the

length of fermatas, with the square fermatas being the most extreme. This notation,

while requiring a visual adjustment, allows the flutist to follow a logical system of

gradation.

40 This was learned by the author while attending the Lake Placid Institute for the Arts in 2001.

62

Figure 9.

Toshio Hosokawa, Vertical Song I, symbols

Bernhard Lang in Schrift I quotes Pierre-Yves Artaud in the use of “aeolischer

klang”, or air sounds.41 This symbol is difficult to read because it resembles a

percussive symbol similar to key clicks and pizzicato. The visual effect is not one

that portrays openness. One wouldn’t naturally think to keep the mouth relaxed and

open while looking at a downward pointing arrow. In this context however, this is

probably the best option. The flutist has enough of a logistical problem playing the

36 pages alone without the help of a page turner. Words above the tones would

never fit and a notation like Hosokawa’s would not solve the visual problem. The

piece is crowded and difficult to read not only because of the handwritten symbols,

but also because of the amount of information in every measure. It is essentially a

score for one player.

5. Publishing Errors:

Beat Furrer in auf tönernen füssen (2001) writes descending lines to depict a

glissando. This is accompanied by a change of vowel in the mouth that lowers or

raises the pitch.

41 Found in the „Zeichenerklärungen“ of Schrift I

63

Figure 10.

Beat Furrer, auf tönernen füssen, page 3, line 2

However, one finds the same descending line without a change of vowel and with

fingerings that would not allow a downward glissando, leaving one to guess

whether on this line, the publisher chose to print the line downwards in order to

avoid it running into the next phrase, or whether there is something else

compositionally wrong.

Figure 11.Beat Furrer, auf tönernen füssen, page 5, line 2


A solution to the challenges of notation is to treat it as an ongoing development of

sight reading that develops visual imagination and flexibility. The first step is for a

student to realize that this music will not be read at sight. In order to imagine the

piece and eventually decide whether it will be performed will take much longer than

traditional repertoire. They will not familiarize themselves with the intricacy of new

scores right away. One must teach patience and demonstrate calmly and

systematically how to approach the performance notes. By beginning the study of a

new piece, one can learn to begin in the performance notes, slowly, before moving

through piece.

64

The author devised the following rules for beginner and intermediate flute students

for sight reading practice:

1) Check the obvious

Title or any descriptive words

2) Check the leftTime signature, key signature, tempo markings

3) Scan through for the “hard parts”Those are the most obvious to see. They usually “jump right off of the

page.”

4) Pick a tempo according to the hardest/fastest part

This same list, modified for students tackling new music would look like this:

1) Check the obviousTitle, descriptive words, date of publication.

2) Check the performance notesBecome familiar with each technique by trying it slowly and in several

different ways. One can experiment with different techniques before

turning to the first page of music. The explanations can be practiced

alone until they are familiar. The goal here is not to rush the student

into the piece too quickly. One can also begin without the flute,

familiarizing oneself with the notation first. Look for the notation

scheme. Try to understand why it has been written the way it has.

3) Scan through for an example of each extended technique in thepiece

Experiment with short passages and look for layering of techniques.

65

4) Make a practice plan according to the difficulties found in the

previous practice.

Concluding Remarks:

The point to be stressed for teachers is to encourage students to discover new

notations, but not to allow the new score to overwhelm them. Going slowly and

developing a new work pattern can ease flutists into new music and set them up for

success.

III. Teaching Extended Techniques: a Plan to Develop Continuityin Teaching

Basic information about how one produces extended techniques is easily

accessible via the web by way of user-friendly tutorials. This section does not

intend to examine these, but rather the works that are considered the standard in

contemporary technique. The author adds to these reference works by developing

a unique lesson. This chapter is indebted to the reference works which are the

foundation of her method.

Background:

The most thorough books for flute are by Robert Dick. This American flutist began

his work as a student of Tom Nyfenger at Yale University. He wrote three landmark

handbooks: The Other Flute, (1986) (Second Edition), Tone Development though

Extended Techniques (1985) and Circular Breathing for the Flutist. (1987) This

section will review these books as the groundwork for the execution of each

technique, and augment the possibilities of execution with the work of others,

namely Carin Levine’s Die Spieltechnik der Flöte, (The Techniques of Flute

66

Playing) (2002). For flute teachers wishing to teach these techniques, materials

from both authors are necessary.

In the realm of experimentation, Robert Dick has exhausted the possibilities of the

flute more than anyone else to date. His goal when writing was to come up with as

many different sounds, effects and uses for the flute as he could. Steeped in jazz

tradition as well as classical, these books are written with the mind of both a

scientist and composer, categorizing the techniques by the strength of the

overtones present and systematically developing new fingerings. Dick’s

comprehensive collection was the first, and still is the most complete. Levine, on

the other hand, wrote her book with a different goal. Her approach to the

techniques is strictly as a performer; she leaves the experimentation to composers.

She has said that she insists on playing exactly what is written so that composers

learn to write exactly what they mean. This teaches them not to rely on the

performer to solve the compositional problems. In spite of that, she has refined

fingerings and described her approach to the techniques as she has experienced

them. She achieves a shrewd balance. She teaches the execution of the

techniques differently than Dick does primarily because every human body is

different. The techniques are still experimental, and while one individual can

perform them, many others are learning in different ways. A comparison, therefore,

of the two books is essential. The next chapters will highlight the differences

between the two books, providing a thorough reference for teachers and students

looking to solve problems with techniques in new music. The author adds

exercises and suggestions for teaching the techniques as well as examples of

examples of their practical application in the literature.

Continuity in Teaching:

Rather than introducing the techniques historically, the author has separated the

techniques into two groups: cognitive and kinesthetic. While these categories aren’t

mutually exclusive, they do offer a new chance for teachers to introduce extended

67

techniques with a cohesive lesson plan in mind. The cognitive techniques are

those that are more challenging for the mind while the kinesthetic techniques are

more challenging for the body. The kinesthetic techniques are meant to be

practiced by physically doing them, the cognitive techniques are meant to be first

understood.

The cognitive techniques are grouped as follows:

Cognitive Techniques

Improvisation Microtonality Rhythm

68

III.1. Cognitive-Based Techniques

Cognitive techniques are those where the idea of the technique must be dealt with

before the execution of it. Students can not simply try it and see how it sounds;

they need to be taught how to approach the technique first. Improvisation isn’t the

first obvious choice for this group, but as cognition is defined as, “That which

comes to be known, as through perception, reasoning, or intuition; knowledge“42, it

is included because of the mention of intuition and perception in the definition. It is

also included to offer a balance to the mind-work that is ahead. This stimulates

learning by offering complete freedom before demanding complete adherence to

detail. As was mentioned in the introduction the right-brain beginning offers a

balance to the left-brain cognitive techniques. The techniques then move to

microtonality and rhythm where the student must spend time either away from the

instrument, or with very slow, detailed practice before the techniques become more

automatic.

42 Cognition, http://dictionary.reference.com/browse/cognition, Retrieved July 4, 2008.

69

III.1.a. Improvisation

There are a number of pieces in contemporary literature that require improvisation.

This component of new music studies is one that raises many questions as the skill

of improvising is often unfamiliar to classical flutists and their teachers. To reiterate

a point made earlier, facing a new technique for the first time in a piece of literature

causes unnecessary stress. A performance date looming over the head of a

student is not conducive in developing a comfort level with a new skill. The author

therefore recommends that improvisation be introduced in lessons apart from a

specific piece requiring it.

Practical Suggestions:

As there is not a “right” and “wrong” way to improvise, practice eliminating self-

consciousness and increasing concentration. This can be done through a number

of exercises either done in groups or individually. Since improvisation is often a

sensitive issue for many musicians, the teacher would be wise to let the creative

process gently develop by keeping criticisms out. Bruce Adolphe’s book, The Mind’

Ear (1991) has exercises for improving musical imagination which can be a

springboard into improvisation. Adolphe writes exercises for classical musicians

that mostly have to do with listening. The student with little experience performing

away from a printed page would benefit from beginning here. In his What to Listen

for in the World (1998), he begins with a series of questions. Some of these,

70

answered with pen and paper, can enlighten the work in the studio before any

notes are played.

Know your own music first.

Do you listen to your own voice?Do you know the tempo of your actions?Do you live by the beat or the phrase?

Do you rush your own thoughts?Do you trust your intuition?

Do you enjoy your own dreams?Do you tap your foot nervously?Do you improvise your meals?

Do you listen to the pulse of your own heart?43

This poetic approach opens the mind to the thought of improvisation without

burdening the musicians with too much freedom. Other exercises involve reframing

what the musician already knows. For example, choosing a well known piece, the

student can begin an “improvisation-like” activity by altering the tempo, dynamics,

character, rhythm and finally the tones themselves. This helps creativity develop

and also sheds new light on those works. That can ultimately only help

musicianship. Adolphe writes in the preface of his book The Mind’s Ear

What prevents someone from participating in new music?Usually the core of the problem is a lack of imagination. Animaginative performer loves to try new things and is versatile bynature.44

His book continues with exercises that develop listening skills. These can be done

in groups or individually, with or without instruments.

Susan Allen45 has written about large group improvisation. She also begins with

what students already know and has developed exercises to help them overcome

43 Bruce, A D O L P H E, What to Listen for in the World, (1998) Second Limelight Edition, P. 24

44 Bruce, A D O L P H E, The Mind’s Ear, Exercises for improving the musical imagination for performers, listeners and

composers, (1991) MMB Music, St. Louis, Missouri, P. 7

45 Associate Dean of the California Institute of the Arts

71

their inhibitions.46 She works at helping students develop a palette of color, or

gestures that can be used in an improvisation. Her students begin by listing the

gestures available to them and include extended techniques or techniques

discovered by the individual. Her exercises involve verbal dialogues, dialogues

between two people speaking to each other in different languages and progress to

musical dialogues. She has students listen to each others endings, reacting only to

that, as a way to eliminate the overwhelming situation of needing to react to entire

improvisation.

A technique recommended by Robert Dick is to take a piece of music, or a single

phrase of music, and improvise something similar to it. This is perhaps more

intimidating for a student than beginning with a situation where musical style is

secondary. Improvising in the style of Mozart, for example, can be more

intimidating than freeing.

At the Lake Placid Institute for the Arts in 2001, Carol Wincenc led a workshop of

applause. One by one, the participants stood up and bowed while the others kept

applauding. Such an activity done after each person plays a short improvisation

can be very freeing. Several jazz musicians have also mentioned using this in jazz

improvisation classes. Sometimes students were asked to play their most difficult

passage and knowing that they would be applauded afterwards made it easier for

them. This set up a dynamic in the group that transferred well when students were

improvising for each other.

Other teachers have turned out the lights or faced chairs away from each other to

help eliminate the self-consciousness that comes fairly often with this work. Some

students comment on not even wanting to improvise at home when they are alone.

Concluding Remarks:

46 Susan A L L E N, Teaching Large Ensemble Music Improvisation (2002), Radical Pedagogy, Produced by ICAAP, ISSN

Number 1524-6345, 2002

72

Overall, the two things to remember about teaching or encouraging improvisation

are that there are a variety of resources to help gently develop the skill and that it

takes time to overcome resistance to it. After committing to a short daily period of

improvisation practice, students can focus on using that time to refresh themselves

from the demands of the rest of their studies. Through either Bruce Adolphe’s or

Susan Allen’s methods, the teacher can foster a sense of humor to take the stress

out of an uncomfortable situation. The goal of improvisation practice is not to do it

“well”, but just to do it. The musicality of the students will come through after the

inhibitions fade. By eliminating the feel of performing for an audience, once can

focus instead on communication. Musicians can then open new doors to personal

expression.

73

III.1.b. Microtonality

Microtonality is the first extended technique encompassing more than just the

development of the flute. New music is known for its use of microtonality;

specifically quarter-tones. With regard to complexity, there is a marked difference

in pieces requiring exact microtonal pitches and those that supply fingerings of

non-exact microtonal sequences. The former requires a highly developed ear for

proper tuning while the latter only requires a fingering adjustment.47

Preface:

The use of alternate tunings in non-Western music is a discussion worthy of

another dissertation. However, looking only at Western music, the history of

microtonality is shockingly long. Before the invention of equal temperament, tuning

was often a hot and debated topic. After equal temperament came into the picture,

the next logical step was to divide the twelve step octave once more into 24 equal

parts, or quarter tones.

47 The questionnaire respondents had played mainly contemporary pieces, and from those, the vast majority had played

pieces that are written with microtonal components, not true quarter-tones.

74

Czech composer Alois Hába wrote his String Quartet, No. 2, Op. 7, (1920) using

quarter tones. He wrote, “The quarter-tone system appeared not as a new

language, but as an extension to the old one.”48

The development of microtonality on the flute begins with exactly this equally

measured quarter-tone scale, that is, tones that are 50 cents apart. What is notable

is the amount of time that this took. The first full quarter-tone scale for the flute

wasn’t developed until 1989. A historically informed Robert Dick founded two

quarter-tone scales for closed and open holed flutes. He also said, like Hába, that

this was a logical development of the chromatic scale.

Margo Schulter refers to what sounds like mistuning or random dissonance to

newer ears. “Such judgments would relegate not only self-consciously

experimental or avant-garde composed musics, but age-old musics of a vast range

of world traditions, to an ‘inferior’ (or at best ‘exotic’) status.”49 Robert Morgan sees

microtonality as an “assimilation of ethnic influences from other regions of the

world […] that sound fresh to Western ears and lend themselves to a variety of

new expressive possibilities.”50


Moving back to the flute, microtonal work begins with Bruno Bartolozzi’s New

Sound for Woodwind which includes the Metodo per Flauto (1973) by Pier Luigi

Mencarelli. Although known among many composers, this method is hardly known

among flutists.51 In it, the first quarter tone fingerings and exercises for flute are

found. He writes exercises based on traditional intervals, beginning from a major

second, through a major seventh. This accomplishes the task of developing 48 Robert P. M O R G A N, Twentieth-Century Music, P. 265

49 Margo S C H U L T E R; What is Microtonality?

http://tunesmithy.netfirms.com/on_site_tree/margoschulter/what_is_microtonality.html, Retrieved June 23, 2008

50 Robert P. M O R G A N, Twentieth-Century Music, P. 440

51 The questionnaire respondents had not listed it as part of their studies and the author’s wider personal experience has

not shown any flutists who use it.

75

intonation. The flutist should tune the familiar interval while transposing it up a

quarter tone. He then writes short phrases presenting quarter tones in a more

modern and musical context.

Figure 12.

Pier Luigi Mencarelli, Metodo per Flauto, page 45

More accessible is Robert Dick’s The Other Flute where he has notated two

quarter-tone scales, one for both open and closed-hole flutes. The scales range

from D1 to E3. In addition to the scales, he also founded tones up to a sixteenth of

a tone. He decided on the fingerings, not for the intonation possibilities, but

because of the constancy of the tone color. In addition to that, he notated the

tendency of the tones under each fingering. That is, too high or low, loud or soft,

bright or edgy.

In certain microtonal segments one can use chromatic fingerings where one key is

left open and the others open or closed chromatically. For example, one would

finger E, then close the keys of the foot joint to reach five tones between E and Eb.

76

Figure 13.Robert Dick, The Other Flute, page 63

In the complete microtonal scale there is not a true homogeneity of sound because

of the flute’s construction. Certain keys will always close together. For example, the

F# key will always close the F key. Looking for a solution, the Dutch flute maker

Eva Kingma built a full quarter-tone flute which is essentially a Boehm system flute

with extra keys that eliminate this problem. The drawback of these flutes is the

price. A flutist must be already convinced of the need for quarter-tone pieces in the

repertoire before buying an extra, more expensive flute. Most flutists are still

tackling microtonal challenges with the fingerings developed by of Robert Dick

although he himself has switched to a Kingma system flute.52

Microtonality is an extremely complex technique since it involves not only new

fingerings, but a new commitment to ear training. Tuning quarter-tones alone in the

practice room is a necessary beginning, but only a beginning. There are computer

based programs that will play microtonal intervals in an effort to develop the ear but

lack the color and overtone components of live musicians. What is important to

remember about tuning any interval is that pitch is dependant on the source.

Flutists probably have already intuited this. For example, many can not, and do

not, tune to the synthetic A sounded on a tuner. One notices quickly, that even if an

oboist, pianist or anyone else matches the tuner’s A exactly, when two musicians

play together, tuning will be automatically adjusted according to color. The

52 Further fingering resources are available via Andre Botos’s website, The Virtual Flute. It is an interactive website

documenting the acoustical properties of every tone with it’s corresponding fingering, conventional and unconventional. The

information is available here: http://www.phys.unsw.edu.au/music/flute/virtual/main.html. Retrieved February 25, 2008.

Other sources are from Mats Möller: http://www.sfz.se/, and Herbert Lindholm,

http://www2.siba.fi/huiluseura/microintervals.html, Retrieved February 25, 2008

77

adjustment is very small, maybe one cent or two, but by doing so, intervals can

sound more in tune than if one concentrates on matching pitch solely with the

tuner.

As with many wind instruments, flutes can not play microtonal intervals without a

huge difference in color. This makes hearing and tuning the intervals much more

difficult. Tuning and blending go hand in hand. To begin hearing quarter-tones,

charting the tendencies of each tone can be of enormous help. That is, the flutist

plays every tone in three possible dynamics and notates the tendency of the tone;

too high, too low, difficult to play loudly etc. From there, the short exercises of

Mencarelli and scales of Robert Dick can be practiced. One should note that

knowing the tendencies of the flute does not provide the “answer” about pitch when

working with other musicians. As stated before, pitch is dependent on the source.

Adding in vast differences in color between different instruments makes tuning

microtonal passages complicated. Developing this skill further requires that one

have access to other musicians adept in this area.

Concluding Remarks:

Schulter defines a term called paucitonality which means “scare-tonedness”. She

calls this a “musical and cultural myopia in which the use of intervals […] occurring

in many world musical traditions […] must be relegated to a special ‘microtonal

category.’”53

This is not meant to say that all musicians should play a certain type of music, nor

that one should not distinguish between microtonal music and the period in music

history where microtones are absent. But certainly all studying music should have

an awareness of other tuning systems. Not only should this open the ear, but more

importantly, the mind. For musicians to move forward in step with developing

53 Margo S C H U L T E R, What is Microtonality?

78

compositional trends, a historical discussion of microtonality and listening along

with practical experience is essential.

III.1.c. Rhythm

Rhythm in new music is known for its complexity. Looking back at how other

performers have handled the complexities can provide a bit of comfort. The

American composer Elliott Carter began writing ametrical music in the 1940’s. This

led to metric rubato and eventually metric modulation.54 In his Double Concerto for

Piano, Harpsichord and Two Chamber Orchestras (1961) some of the ratios in the

piece are as complex as 49:50. Translated, that is fifteen septuplets against

twenty-one quintuplets at metronome speeds of 24.5 and 25. Charles Rosen, who

played the piano for the premiere said, “The mood of the first performance was

close to panic.”55 The conductor Gustav Meier said, “I felt like more of a traffic cop

than a conductor. Would we get through the piece without breaking down? We

made it to the end. I had no clear idea of how the performance went.”56 In contrast,

Igor Stravinsky said about the same piece, “The score introduces no metrical

difficulties […] it is easy to conduct and I can imagine the orchestra players

54 Metric Modulation is when a common note value in one measure acts as pivot value in the second. From this, a new

tempo is calculated.

55 David S C H I F F, The Music of Elliott Carter, (1983) Da Capo Press, New York, P. 205

56 Ibid. P. 206.

79

complaining.”57 As often happens in new music, something is described as

unplayable until someone else figures it out.58

Where solo literature gives a little more room to cope with rhythmic difficulties, in

ensemble pieces this is often not true.


Working with complex rhythms could begin as early as Olivier Messiaen’s Le Merle

Noir. His use of additive rhythm59 forces the flutist to count the subdivision rather

than the beat.

Figure 14.Olivier Messiaen, Le Merle Noir, page 1, line 5

There are two measures with 11 sixteenth notes, followed by one measure with

seven sixteenths. The sixteenth notes must be exact as the flute plays in canon

with the piano. In addition to that, the phrase should have an effortless floating

character to it. Messiaen wrote with these rhythms to depict timelessness and they

57 Robert C R A F T, Igor S T R A V I N S K Y, Dialogues and a Diary (1963) Double Day and Co. Garden City, New York,

P. 49.

58 This causes friction between composer and performers. There are pieces that are playable in some circles and not in

others. If a composer is reading this, please be advised that if you are writing something that musicians can’t play, you

should be able to explain to them how they can play it. You should be able to count your own piece.

59 Messiaen used additive rhythm in that he would irregularly add or delete note values, dots or ties to break from traditional

time signatures.

80

should not sound “counted.” This piece could be called a pre-requisite to studying

works with more complex rhythms.

By working with a metronome, one can practice rhythmic exercises and simple

polyrhythms in Robert Starer’s Rhythmic Training.60 His exercises in polyrhythms

begin with two against three and three against four.

Developing rhythmic security can be taught be deducing rhythms to their most

simple form. Gerd Noack’s Frühlingstimme (2007) is a great piece for a rhythmic

tutorial.

The first line:

Figure 15.

Gerd Noack, Frühlingstimme op. 39, line 1

Could be practiced like this:

Figure 16.Jennifer Borkowski, rhythm exercise 1

60 Robert S T A R E R, Rhythmic Training (1969) MCA Music Publishing, New York, NY

81

Other challenges in new music are some of the newly invented time signatures

used by Brian Ferneyhough. For example, in Superscripto (1981), he writes

measures in 1/10 time. In order to figure out the speed of the measure, one uses

the following calculation:

When the 8th note has a given value of 56 beats per minute, the 10th note

equals 70. To arrive at that, do the following:

When 8 = 56 and 10 = x, cross multiply and the equation is 8x = 560.

Then, 560 ÷ 8 = 70

To hear the length of the individual notes in a 1/10 measure; divide the

speed of the measure by the number of notes in the measure.

Using the same formula, a 3/12 measure equals 84. 8 = 56 and 12 = x.

Cross Multiply. 8X = 672. 672 ÷ 8 = 84

Learning the piece after these calculations are done is another challenge. One

must internalize the speed of each individual measure, either by charting all of the

corresponding speeds and practicing them together or by simple rote

memorization. Looking again at the change from 1/8 time to 1/10 time, notice that

82

reduced it is 1/4 changing to 1/5. Find a common value between 4 and 5 which is

20. This means one can put 20 tones in a measure of 4/4 and divide the measure

by 4 and 5 to get the number of sub-beats in the 1/8 and 1/10 bar. 20 ÷ 4 =5,

therefore a 1/8 bar can be practice with 5 sub-beats. 20 ÷ 5 =4, there a 1/10 bar

will have 4 sub beats. This 5:4 ratio can be practiced by playing quintuplets

followed by the first four tones of the quintuplet. One could go through the entire

piece with the sub-beats playing a self-made click track in order to internalize the

speed of the measures before adding in the rhythms.

Concluding Remarks:

To be noted in this discussion is that rhythm should not be rushed, but practiced as

a component away from the flute. Take time to do the calculations and work with a

metronome while clapping or saying rhythms before playing. This saves time and

develops rhythmic accuracy not only for the piece in question but for future pieces

as well.

83

III.2. Kinesthetic Techniques: Building Body Awareness

As opposed to the techniques in the previous sections, these can be experimented

with right away. The student often benefits from just diving right in and feeling how

the new technique works. This is “learning by doing” while experimenting with new

and often exaggerated movements. The organization here is meant to increase

awareness of the body and the instrument. The groupings are made so that

resonance is a main theme. By gradually increasing the difficulty with resonance,

body awareness becomes stronger. The flutist can use all the accumulative

acoustical tricks to get the more difficult techniques to sound. Using this approach,

the teacher can tailor the lesson plan to the students needs, or follow the order of

the author’s plan to maximize kinesthetic learning. The final chapter of this section

focuses on endurance, and often neglected topic among musicians. When the

previous elements are in place, the flutist has all the tools needed to project sound

in even the most challenging musical scores.

84

III.2.a. Borrowed Techniques

The flutist beginning the techniques in this section will benefit from the idea that

this work leads towards a broader palette of expressive colors. The techniques are

organized so that one begins with the most common and oldest technique, flutter

tongue. Harmonics are discussed next since their roots in music are also not new.

While their use in flute literature is a twentieth century phenomenon, they stem

from long history of use in stringed instruments. Harmonics are the first technique

discussed that use altered fingerings. Whistle tones are discussed as an offset of

harmonics since they are also based on the overtone series and the effect of a

whistle tone is aurally closer to the sound of harmonics played on a violin. The next

section then logically proceeds to discuss other uses of altered fingerings followed

by the altered fingerings needed for timbral trills and tremolos. Multiphonics follow

because of their altered fingerings and roots as double-stops in stringed

KinestheticTechniques

BorrowedTechniques

VocalTechniques

New Usesof Air

PercussiveTechniques

Endurance

85

instruments. Glissando is also borrowed technique and is discussed at the end of

this section.

These categories can be referred to when teaching.

III.2.a.1. Flutter Tongue

The oldest extended technique, now considered a classical technique, is flutter

tongue. All flutists pursuing a professional career in any degree will encounter this.

It is required of every flutist with a symphony orchestra position, as it appears in

orchestral literature early as Richard Strauss’ Don Quixote (1896-97)

Figure 17.

Richard Strauss, Don Quixote, Variation VII

Extending Tone Color

Flutter Tongue Harmonics Glissando

Whistle Tones Altered Fingerings

Timbral Trills

Tremolo

Multiphonics

86

Because of the dynamic and high register of this passage, no special flutter tongue

practice is needed. One must only roll the tongue and the tones will sound. There

isn’t any flutter “nuance” that needs to sound because of the thick orchestral

texture.

The two types of flutter tongue are the rolled tongue and the glottal or uvular

execution. They differ in speed and pressure, resulting in different dynamics and

expression. The rolled tongue is generally faster with more pressure, moving the

air faster through the flute. This makes it more suitable for the high register. The

glottal or uvular execution61 is therefore better for the lower register and quieter

tones. It is possible to use both types, even in one phrase, switching from one to

the other without a break. When moving through registers, this is a solution. In the

following passage, one would flutter in the throat for the first octave tones and

switch to a rolled “R” for the other tones. It is not written, but implied that the final G

of this passage would need a slower and less aggressive flutter because of the

dynamic.

Figure 18.

Shirish Korde, Tenderness of Cranes, (1991) page 1, line 4

61 Uvular or glottal flutter is produced by rolling an French R sound in the back of the throat, as opposed to the Italian R

done with the tip of the tongue.

87

A more common passage of an exposed flutter tongue is in the cadenza of the

Concerto of Jacques Ibert. (1934)

Figure 19.

Jacques Ibert, Concerto for Flute, movement 3, cadenza

The author has attended many master classes and participated in discussions of

how to execute this. The cadenza passage is exposed and one is meant to control

the tone to the low C at the bottom of the chromatic scale. The flutter tongue

causes the air to move faster than what the low tones require, thus making them

split into the high register. The common perception is that it doesn’t matter, the

tone may be less than pure, and one need only achieve the effect of a flutter. Of

course, when another flutist has been able to play a clear flutter in the correct

octave, they are praised for being able to do so, but few orchestral flutists have had

suggestions as to how to make this happen. Such a passage becomes the dread

of those who can’t sustain the tone throughout the low register, as the Ibert

Concerto is often a required piece for orchestral auditions.

Brad Garner has suggested dropping the jaw downwards which helps keep the

flutter in the first octave.62 This may help some. Moving the tongue further back on

the soft palette will reduce the air speed, and may be enough of an adjustment to

facilitate the production of the low tones. For others, a uvular flutter would work

better in this passage.

62 This information was taught at the 2001 Lake Placid Insitute for the Arts.

88

Robert Dick’s criticism of the use of flutter tongue among flutists is that it isn’t used

creatively. It is either turned on or off like a faucet, much like a beginners first

experiments with vibrato. One usually hears it played loudly, with the tongue

moving very quickly. The tone is usually distorted with a lot of excess air and the

pitch is usually sharp. Carin Levine agrees with this point, reiterating that it is

possible for flutter tongue to be played espressivo in every dynamic and register of

the flute. The markings of flutter tongue, however, do not ever specify any variation

of speed, but one can easily find flutter tongue written in extreme dynamics and in

the opposing registers of the flute.

Robert Dick has said that he always uses the glottal execution. He finds that it

works throughout the entire range of the flute as well as in every dynamic level.

Most flutists find the glottal execution in the upper register very difficult. The

tendency of playing in the upper register with the required increase of support, air

pressure and tightened embouchure seems counterintuitive to an open flutter in the

chest. Many flutists close the throat trying to get air to move quickly enough. This

makes the uvular flutter move up too high in the throat, and thus too fast. The

result is only a distorted tone not a true flutter effect. This may be only

psychological, but a challenge nonetheless. Many find that rolling the tongue

provides good results in a much shorter time.63

Robert Dick’s experimentation with glottal flutter tongue has lead to fascinating

results. He is able to achieve a flutter with minimal pressure so that multiphonics64

or whistle tones65 can also be fluttered. The air steam required for a multiphonic is

wider than that of normal tones. In the following passage, a throat flutter allows

both things to happen at once.

63 For a discussion of air stream and the high register, please see the chapter on harmonics. Exercises there can help a

flutist play quietly and with less air instead of simply blowing harder. These exercises could also be applied to learning a

uvular flutter in the upper octaves.

64 Multiphonics are covered in section III.2.a.7. They are two or more simultaneously sounding tones played with an altered

fingering and a lengthened air stream.

65 Whistle Tones are covered in section III.2.a.3. They are lightly blown over the embouchure hole resulting in fluctuating,

highly pitched tones based on the overtone series.

89

Figure 20.

Shirish Korde, Tenderness of Cranes, page 3, line 6

In addition to this, Dick is able to articulate with the tip of the tongue while fluttering.

To date, the author has not yet come across a piece requiring this skill. Dick uses

this effect primarily in jazz and rock based improvisation.66

Dick recommends rolling the tongue only when an audible, extraneous noise is

desired. A possible choice would be in Tenderness of Cranes by Shirish Korde.

Figure 21.


67 Larry K R A N T Z, Extended Techniques Resource Page, http://www.larrykrantz.com/et/et.htm#Resid, Retrieved March

3, 2008

90

Given the program of the piece, the slapping of a crane’s wings against the water

could be portrayed here. This would contrast to the slow motion sound of the bird

in flight.


Uvular Flutter Tongue:

To develop a uvular flutter tongue, Robert Dick recommends gurgling practice. By

gurgling with water, one can feel the glottis active. One then works with less and

less water, until the mouth in empty. Gurgling without water is essentially what the

glottal flutter tongue is. Some flutists trouble shoot by accumulating saliva in the

mouth and gurgling it into the flute. This has many drawbacks, the main one being

excess saliva afterwards. There is often not sufficient time to gather it and

sustaining it through longer phrases in impossible. This beginning though, is along

the right path. It is also possible to trick the mind, gurgling without water, by holding

the head back as if water were there. Then one can bring the flute to the lips with

the head still back, until the muscles learn this movement in an upright position.

As previously discussed with the uvular flutter tongue, there is a tendency for the

larynx to come too high. When this happens, the flutter is too fast and what sounds

through the flute is simply an unclear tone. Solving this problem, one can use the

method of Carin Levine. Begin with a breath of air, as deep as possible in the chest

and with the throat as open as possible. By placing a hand on the chest, the

resonance of the air can be felt. The flutter should then remain under the larynx,

and although it feels extremely slow, it sounds very fast. When this method is not

working, it is helpful to begin the flutter by inhaling. This can then be easily

transferred to exhaling and then blowing into the flute. One should practice this

flutter on a very comfortable note on the flute such as low G. The process of

inhaling with an open chest produces a more relaxed flutter tongue in contrast to

the previous approach. Gurgling with water doesn’t prevent the flutter from coming

up too high and can even encourage it. Practicing with the head back is an

91

interesting psychological tool to help transition the flutter into the flute but flutists

may have to work again at keeping the throat and chest open.

Despite this, the gurgling practice method of Robert Dick has yielded a flutter

tongue that can decrease in speed. Using more or less pressure and more or less

speed, he achieves a flutter with varying expressive qualities. A decelerating flutter

mixed with a decrescendo, is another creative use of flutter tongue. One idea for

this use is below.

Figure 22.

Olivier Messiaen, Le Merle Noir, measure 9

Dieter Flury, principal flutist of the Vienna Philharmonic, is able to achieve this

same effect by using an extremely fast and light double tongue in place of the

flutter.67 This ability is rare.

Fluttering with the Tip of the Tongue:

To practice the rolled “R”, the student should place the tip of the tongue on the soft

palette of the mouth and relax the sides so that some air comes through. There is a

tendency to put too much pressure on the tip of the tongue, resulting in very short

flutter that cannot be sustained.

Exercises:

While working with students, one should be flexible in the approach. Some

students can flutter tongue well in the upper register, some only on the low. Some

67 Flury demonstrated this during the author’s post graduate studies in 2005.

92

have a very easy time rolling the tongue while others can not do it at all. This

comes from the difference in language exposure and different strengths with flute

playing all together. Exercises can be built based on tone studies so that the flutter

tongue can be expanded through the range of flute. Some students can flutter very

well, but can not sustain the flutter though a long passage. Apart from an urgent

performance, there is no need to rush the development of flutter tongue. Therefore,

work with their strengths. A student who can flutter short tones can begin as such:

Figure 23.

Jennifer Borkowski, Flutter Tongue Exercise 1.

and then work on extending the flutter throughout the range of the flute.

Those who can flutter longer can use regular tone exercises, beginning from a

point of comfort and working either upwards, downwards, or outwards.

93

Figure 24.

Jennifer Borkowski, Flutter Tongue Exercise 2

Beyond that, it would benefit all students to work on a flutter moving in and out of a

tone. This is an often challenging task because if its’ explosive nature. Flutists

often find that they need much more air to sustain the rolled tongue. Practicing this

way helps develop a lighter roll. The rolled “R” in the throat will not work without the

appropriate mouth position. If anything is too closed - mouth, throat or chest - it

won’t sound. Moving in and out of straight tones can pinpoint and help fix this

problem.

94

Figure 25.

Jennifer Borkowski, Flutter Tongue Exercise 3

Concluding Remarks:

These exercises provide the opportunity to work on flutter tongue while allowing

the muscles to naturally develop. This saves students from facing it for the first

time in a piece, or worse, in a piece that they are already scheduled to perform.

Often, one will notice impatience with modern techniques. Some students will give

up much more easily than they would with regular tone or scale studies. The point

here is that these techniques take time and can be taught. Whether or not a

student dives into the world of contemporary techniques, all will encounter flutter

tongue. All would benefit from short but daily exposure.68

68 See section III.2.f.4. for incorporation of flutter tongue into daily studies

95

III.2.a.2. Harmonics

Harmonics, sometimes called flageolets or overtones, are more familiar when

played by string players. A violinist will use flageolets regularly in classical

repertoire. For a flutist, he or she fingers a fundamental tone and over blows until a

note from the overtone spectrum sounds. In the normal flute fingering system,

overtones are the basis for the upper octaves. For the second octave one over

blows an octave without changing fingerings. For the third octave, one over blows

an octave and a fifth with modified fingerings to facilitate tuning.69 In new music,

the use of the overtone series and harmonics has grown considerably, asking

flutists to over blow two octaves or more, sometimes with a first octave fingering.

69 For a complete understanding of flute fingerings, please see the attached fingering charts in the appendix.

96

Luciano Berio in his Sequenza I wrote double harmonics.70 This is a precursor to

multiphonics which will appear in flute literature much more frequently. One plays a

fundamental then switches between the two neighbor tones in the overtone series.

By doing this, one can find an embouchure that is long enough to accommodate

both tones sounding at once.

Figure 26.

Luciano Berio, Sequenza I per Flauto Solo, page 3, line 1

In Salvatore Sciarrino’s series of pieces L’opera per flauto, one finds harmonics in

the fourth octave. It had been an experiment of Robert Dick’s to find how high the

flute could go into the fourth octave. He found that an acoustical limit was G in the

fourth octave, and most flutists find the fourth octave with normal fingering

extremely taxing on the lips. He recommends only short practice of the fourth

octave to avoid fatiguing the muscles. In this example, one sees that composers

can easily push flute techniques further than what flutists would normally think of

themselves. Reaching pitches in the fourth octave is difficult but adding a first

octave fingering makes them one of the most physically demanding elements in

flute literature. The length of the phrases and difficulty of the pitches makes this

work virtuosic beyond what had been previously imagined.

Such an extreme breath support is needed that some flutists count on an adrenalin

rush to achieve the pitches. The diaphragm is under such stress, pushing as hard

70 Double Harmonics are blown so that two overtones sound at once.

97

as possible over and over again, that the several flutists who performed the piece

said it made them nauseated.

Figure 27.

Salvatore Sciarrino, L’opera per flauto/Hermes, page 3, line 1


Harmonics exercises teach one how to hold the lips, how much air pressure is

needed, and how much one needs to correct intonation. These exercises are

meant for orchestral flutists to develop a better sense of pitch, tonal control and

flexibility. They are, however, a perfect springboard for the harmonics that one

finds in new music. One must experiment with the room inside the mouth to control

the pitch. Most harmonic fingerings are very flat and orchestral flutists would

correct pitch while allowing the harmonic to sound with an airy tone quality. This

gives the lip muscles time to develop. Another reason for this is that the true

fingering is the one that will be performed. The practice of the harmonic is merely a

stretch of the lips beyond what they would be called to do in an orchestra. Many

composers of new music however write harmonics when they want a paler tone.

To do this without a loss of intonation is very difficult as correcting the intonation

often yields more air in the tone and a louder tone all together.

98

To practice harmonics, Jeanne Baxtresser 71 recommends the following exercises.

Figure 28.

Jeanne Baxtresser Harmonics Exercises, transcribed by Jennifer Borkowski

71 The Julliard School, Carnegie Mellon and New England Conservatory Faculty and former Principal flutist of the New York

Philharmonic. The author learned these exercises during private study in 1996.

99

Robert Dick also recommends harmonics practice for the development of the tone

and embouchure. Pitches with an optimal resonance have only one embouchure

position, and that is the same position of the mouth while playing a harmonic. The

position is a combination of the lips, jaw, throat and space inside of the mouth.

When one practices the harmonics, one should avoid turning the head joint

inwards, but should rather push the jaw forward. This teaches the correct breath

support for the tone. Otherwise, one achieves a pale color, most likely piano, but

without resonance and proper intonation.

One example of Robert Dick’s harmonic practice is the Partita in a minor BWV

1013 by J.S. Bach. One always uses the lowest fingering possible, and when the

wrong tone sounds, it shows that the embouchure wasn’t in the correct position.

Harmonics are problem solving in this way. The mistake becomes very obvious.

Teachers use tricks to have students hear this mistake. With traditional fingerings

one can play a G2, and then move to E2 without moving the embouchure at all.

The E will sound, but without the best resonance possible. Teachers will depress

the additional keys so that E will sound without the student knowing when. The

student can more clearly hear the lost resonance when the lips are unprepared for

the new note. When one uses harmonic fingerings without moving the

embouchure, a completely wrong note in the overtone series will sound. This trains

the ear and mouth to place each tone more precisely.

100

Figure 29.

Robert Dick, Tone Development through Extended Techniques, page 22

One can also practice scales with harmonic fingerings on every tone possible. The

difference in intonation is heard immediately in this context. Other ideas for

development of control are practicing harmonics with single and double tonguing,

and at various dynamic levels for variations of tone color and resonance.

Concluding Remarks:

Practicing harmonics helps strengthen the embouchure and refine the ear. They

also open up the ear to other color possibilities. This technique is the first to use

altered fingerings and comfortably bridges the classical and contemporary worlds.

III.2.a.3. Whistle Tones

Whistle tones, or whisper tones, are lightly blown over the embouchure hole,

resulting in lightly fluctuating tone in the very high register based on the harmonic

series.72 In sound, they are similar to the sound of harmonics played on a violin, an

extremely soft and whispery sound. On the flute in contrast, it is very difficult to

hold a whistle tone constant. When playing in the third octave, the use of normal

third octave fingerings helps to stabilize the tone. The overtones are no longer

heard. While fingering lower octaves, the harmonic series is heard like an

72 Carin L E V I N E, Die Spieltechnik der Flöte, p. 15

101

improvisation because of the delicateness of the airstream. Performing whistle

tones under stress requires still lips and quiet nerves. Breath support is not the

issue here, because the tones are played by blowing as lightly as possible.

The rule for whistle tones is that the longest fingerings result in the greatest

number of tones. That is, the low B (all keys depressed) results in 14 overtones.

The C# (all keys open) results in only 5 overtones.

Whistle tones are sometimes used as echo effects.

Figure 30.

Heinz Holliger, (t)air(e), page 3, line 8

Anecdotally, Robert Dick described a competition between himself and Tom

Nyfenger while he was studying with him at Yale University. By way of competition,

Nyfenger challenged Dick to play the lowest whistle tone he could, and to Dick’s

surprise, Nyfenger was able to reach the lowest C on the flute. Unfortunately there

isn’t any recording documenting this. This supports the goal of Robert Dick’s work

however, which was to write everything that is possible for the flute. Robert Dick

continues to describe whistle tones played with vibrato and articulation. It should

be noted that in his first publication, The Other Flute in 1975, he hadn’t discovered

102

that yet. This idea first appears in Tone Development through Extended

Techniques written in 1986.

In the following example of Heinz Holliger, the notation suggests that each tone

should be heard as it is written. Reaching these tones slowly and individually is so

difficult. It leaves one wondering if it is even possible to reach them in the written

speed. Through questioning many flutists who have played the piece, the author

has not yet received an affirmative answer.

Figure 31.


He also writes for both “trembly” and exact tones which are easily achievable.

103

Figure 32.


Further in the piece, he asks for a high C# to be played with a low A fingering,

gradually moving into a “trembly” effect. This is also playable with practice.

Figure 33.

Heinz Holliger, (t)air(e), page 3 line 8


Robert Dick teaches the control of whistle tone pitch in the same way he teaches

control of harmonics. That is, the direction of the airstream dictates the pitch. The

jaw moves, with completely relaxed lips, to determine the pitch. It is also helpful to

use throat tuning73 and to practice by whistling the desired pitch to find the

appropriate throat position. The airstream must remain constant and in complete,

relaxed control. Too much air simply makes an airy tone.

Practicing whistle tones is often advocated for warm-up exercises when one can

not find a practice room. Theoretically, the embouchure is in the ideal location for

each pitch. In reality though, the lips are much more relaxed, and the embouchure

73 Throat tuning is when one sets the vocal chords to the desired pitch. Although the pitch will not be sung, the vocal chords

can help strengthen the resonance of a tone.

104

much more vertical than a normal playing position. Some flutists find disturbance in

their tone by practicing whistle tones.

Concluding Remarks:

Most students enjoy practicing whistle tones because of the ease of execution and

the break they provide. They are probably the most relaxing technique known on

the flute. Beginning with this mindset introduces them in the most positive way

possible.

III.2.a.4. Altered Fingerings

A logical consequence of harmonic fingerings is the use of alternative fingerings for

normal pitches as harmonic fingerings are already alternative fingerings. Orchestral

flutists and more often piccolo players will often use a harmonic fingering to flatten

the pitch of an unusually sharp note. For the alto and bass flutes, the third octave is

105

almost always played with a harmonic fingering. The normal fingerings are much

too sharp. For difficult entrances on the piccolo, a player will often vent the first trill

key so that the tone speaks more easily. A classic example of this is in the Firebird

Suite (1909) by Igor Stravinsky.

Figure 34.

Igor Stravinsky, Firebird Suite, Ronde des princesses, Rehearsal 14

Alternative fingerings also offer many more possibilities for dynamic contrasts. It is

normal for many orchestral flutists to call these fingerings “fake” fingerings. This

detracts from the development of the flute’s sonic capabilities. It is normal, for

instance, for an orchestral flutist to use both fingers 1 on 3 on the right hand for a

high F to facilitate tuning. Many flutists use alternative fingerings on the piccolo

regularly, adding the left hand pinky key to a high D, for example.74 Studying

alternative fingerings gives orchestral flutists many more possibilities for tonal

exploration as different overtones are highlighted.

In using alternative fingerings, a widened palette of tone color results. While

harmonic fingerings are often pale and flat, alternative fingerings, according to

Robert Dick, come in 5 categories:

74 Examples of the many possibilities of alternate fingerings can be found on the Larry Krantz website which includes five

different fingering charts for flute and piccolo. One of these charts alone has over 26,000 possible fingerings. The website

also lists fingerings for orchestral flutists at www.larrykrantz.com. Other books are: A Modern Guide to Fingerings for the

Flute by, James J. Pellerite and Alternative Fingerings for the Flute by, Nestor Herszbaum.

106

Normal-pitches have very strong fundamentals, strong secondpartials, and progressively weaker third and fourth, fifth, sixth,seventh and eighth partials.

Diffuse-pitches have strong fundamentals, strong secondpartials, fairly weak third and fourth partials, and extremely weakfifth, sixth and seventh partials if they are at all present.

Muted-pitches have fairly strong fundamentals and weaksecond and third partials. If any higher partials are present, theyare extremely weak.

Bright-pitches have strong fundamentals, very strong secondpartials, strong third partials, and progressively weaker fourth,fifth, and sixth partials. Higher partials may be present but areextremely weak.

Edgy-pitches have fairly strong fundamentals and extremelystrong high partials. 75

In Tone Development through Extended Techniques, Robert Dick extends the

possibilities to include a scale with the tone color of a bamboo flute.

75 Robert, D I C K, The Other Flute, P. vii The information here about changes in tone color is also relevant in the

forthcoming chapter on microtonality. When one plays with other musicians, issues of color need to be considered along

with matching pitch.

107

Figure 35.

Robert Dick, Tone Development through Extended Techniques, Bamboo Scale,

page 32

A printed example of an alternative fingering is in Robert Dick’s Flying Lessons

Volume I, Number 6. The two F#’s are quieter than usual, allowing the flutist to use

a minimal amount of air, change the color and keep the intonation all at once.

108

Figure 36.

Robert Dick, Flying Lessons Volume I, Number 6, measures 13-14

Practical Application in Repertoire:

Some composers will notate alternative fingerings in the score but this does not

mean that one may not use them if they are not notated. In Tenderness of Cranes

by Shirish Korde, alternative fingerings can be used to create the breathy sounds

that the composer asks for. For example, the trill fingering for D is naturally airy

and perhaps more breathy than what one could do with embouchure alone. This

also saves air for the length of the phrase. This section asks for three distinct color

changes all on middle D so one could alternate between the trill fingering, a

harmonic fingering to achieve a dark overblown effect, and the regular fingering.

109

Figure 37.

Shirish Korde, Tenderness of Cranes, page 1, lines 9-10 to page 2, line 1

Other examples of alternative fingerings for troubleshooting are in Heinz Holliger’s

(t)air(e). The G at the end of this phrase is to be played with a harmonic which

requires a greater air speed than one should have at this point, as he asks for the

phrase to be played “with last of air”. By venting the ring key of the right hand

second finger, the G harmonic speaks more easily and the intonation is corrected

in this difficult ppp dynamic.

110

Figure 38.


Concluding Remarks:

Practicing these new timbres open the ear for creative color changes in traditional

repertoire. One will hear degrees of piano that were not possible with normal

fingerings. The embouchure will have already adjusted with the new fingering,

which makes the dynamic range bigger just by having played them.

III.2.a.5. Timbral Trills

Timbral trills, which are a logical development of altered fingerings, are trills with a

change of color without a noted or perceptible change of pitch. They come directly

from altered fingerings as they simply change color. They are sometimes also

called finger vibrato. Beyond a fingering chart, special techniques are not needed.

111

Figure 39.

Carlo Pedini, Il Miracolo, (2002) Quarta Scena, measures 1-5

III.2.a.6. Tremolos

Tremolos are another technique found in new music that require little more than

the new fingering. The fingerings can be found in a variety of fingering charts by

either Dick or Levine. To differentiate between tremolos on a violin and a flute, a

violinist will rapidly repeat the same tone while a flutist will rapidly alternate

between two or more tones.

112

Tremolos are also found between groups of notes. Klaus Huber calls these

tremolos or piano trills.

Figure 40.

Klaus H U B E R, Ein Hauch von Unzeit, (1972) line 14, figures c and d

Occasionally, tremolos will appear that do not have alternate fingerings. In the

following passage, one can not use any trick fingerings at all. By setting the

embouchure for a tone between the F1 and F#2, say C2, the quick change from

the lower to middle octave is possible.

Figure 41.


III.2.a.7 Multiphonics

Multiphonics are another technique in this group directly derived from string

techniques. They are related to double stops on a stringed instrument as well as

harmonics on the flute because of the way that they are blown. They use altered

fingerings plus an altered embouchure position. The roots of multiphonics for flute

113

extend well before the end of the Second World War. In the 19th century, the Dutch

flutist Georg Bayr experimented with mutilphonics. (His book Doublenotes for Flute

was published in Vienna without a date).76 His ideas are the forerunner for many of

the common multiphonics used today. In the 20th century, the Italian virtuoso

Serverino Gazzelloni experimented further. Other published materials include Pier

Luigi Mencarrelli’s New Sounds for Woodwind (1969), Thomas Howell’s The Avant

Garde Flute (1974) and Robert Dick’s The Other Flute. The total work left over

1000 multiphonic fingerings capable of intervals from a minor second to an octave

and a fifth.

The following three rules apply to multiphonics production:

• The larger intervals are reached more easily

• Most multiphonics can only be played softly

• Articulation reduces the response of the multiphonic77

Both Robert Dick and Carin Levine have created large tables which detail the

qualities of the intervals. They are complete with recommendations for composers

regarding the difficulty or ease of the interval, and in which dynamic they are

possible.

Every fingering on the flute yields at least one multiphonic. Multiphonics are based

on three types of fingerings: harmonic, chromatic and microtonal fingerings.

1. Multiphonics based on harmonic fingerings range form the flutes lowest B

to middle D. The intervals possible include the perfect fifth, perfect fourth,

major third, minor third, and major second.

76 Ibid. P. 83

77 Ibid. P. 84

114

Figure 42.

Robert Dick, Flying Lessons Volume I, page 4, measures 9-10

The intonation in these is not very accurate with fifths being too large and fourths

too small. Correcting intonation with multiphonics is extremely difficult as one can

only use the lips, and the lips are already stretched beyond a normal playing

position to reach the interval. A delicate change in the air stream could help

intonation with normal fingerings but would disrupt the production of both tones of a

multiphonic.

2. Multiphonics based on chromatic fingerings number over 600. Almost

every interval is possible including microtonal intervals.

115

Figure 43.

Robert Dick, The Other Flute, page 89

3. Multiphonics based on microtonal fingerings (those venting half holes in

the keys) result in a parallel microtonal scale.

Figure 44.

Robert Dick, The Other Flute, page 127

Multiphonics are dependent on the type of flute one plays. A “B” foot joint, a split

“E” key, or open or closed keys will alter the fingering one must use.


116

When one over blows, one can reach an octave by lengthening the embouchure to

accommodate both tones. To reach a multiphonic, the jaw and lower lip define the

lower pitch, and the upper lip finds the upper pitch. It is wrong to attempt to use two

different air streams. Only one is needed with an aperture large enough to produce

both tones. In reality, beginners do this all the time. While trying to find the middle

octave, they often play a ghost of the first octave at the same time. Even for

advanced flutists, this is the easiest way to start. For more difficult intervals, one

can oscillate between the two tones until the stability is found to hold them both

together. When one is beginning multiphonics, oscillating between the two pitches

is done almost like a change of tone color. The upper lip moves in slow motion and

one is forced to concentrate keeping the lower lip and jaw stationary. By doing this,

the lips become more flexible for changes in tone color in the standard literature.

Another method is setting the air stream for a non-played middle tone. For

example, for two F’s an octave apart, the embouchure can be set for a C or D in

between. One also becomes keenly conscious of the space inside the mouth, the

vowel one speaks, and the tuning of the throat.

A further use of throat tuning, the concept coined by Robert Dick, is applicable

here. This is when one sings a tone to set the vocal chords to the desired pitch. In

traditional music, one often does this often unconsciously in order to strengthen the

resonance. With multiphonics, one can use this technique by singing the weaker

pitch of the multiphonic so that it speaks more easily. One would then remove the

singing, leaving the throat set for the desired pitch.

III.2.a.7.a. Practical Application through repertoire: Flying Lessons

Volume I for the development of multiphonics

Because of the sheer number of multiphonic fingerings, over 1000, integrating

them into daily studies isn’t prudent. Working with repertoire directly will give better

results. Perhaps the most complete and user friendly introduction to multiphonics is

Flying Lessons Volume I by Robert Dick. He developed his own notation system so

that one can easily read the fingerings. He begins with multiphonics that are easy

117

as far as the embouchure is concerned. The music is also paced fairly slowly. The

second etude begins with a metronome mark of 48, and the first multiphonic is a

fermata.

Figure 45.

Robert Dick, Flying Lessons Volume I, number 2, measures 1-2

He has carefully chosen the tempo, dynamics and fingerings so that one can

succeed in their execution. The first interval is one that plays itself. Simply using

the fingering and pianissimo dynamic will produce the multiphonic. The second

interval is a widened version of the first interval and is notated with a crescendo to

mf while one widens the interval, then moving to f to sustain the interval. It is as if

he wrote the musical effects directly to coincide with the change of embouchure

and dynamic needed to produce the sounds.

In faster passages, he has chosen fingerings that are quite easy.

118

Figure 46.

Robert Dick, Flying Lessons Volume I, number 2, measure 9

The pinky on the foot joint is the only finger that moves.

Further, in line three, he combines the dynamic change along with the position of

the head joint, from rolling inwards, to outwards, to straight. This is symbolized by

the rotating “U”s over the tones.

119

Figure 47.

Robert Dick, Flying Lessons Volume I, number 2, line 3

Concluding Remarks:

Robert Dick’s Flying Lessons Volume I help the flutist get used to holding the flute

in different ways, depressing keys that would not normally coincide. They also help

the student adjust the embouchure in a comfortable way. They are set up to be

self-teaching. The notation is large and visually very clear. Flutists can get used to

the new sonorities without being intimidated by handwritten scores that are difficult

to decipher or effects that are difficult to achieve. This is the benefit of a

flutist/composer who has written idiomatically for his instrument. Flying Lessons

Volume 1 is therefore highly recommended by the author as the way to learn this

technique.

III.2.a.8. Glissando

Glissando is the last technique in this section stemming from stringed instruments.

Glissandi are also found on many types of other flutes. In The Other Flute, Robert

Dick writes of the Boehm system, or modern, flute: “To my knowledge, the Boehm

flute is alone in the plethora of flutes played worldwide in its traditional inability to

120

make glissandi, and thus its adaptation to musical styles.”78 That inspired him to

develop a technique based on the fingerings used by Indian flutists.

Glissandi on the flute are divided into two categories, embouchure glissandos and

finger glissandos. Both provide a chance for new tone colors and both provide new

challenges in their execution.

Embouchure Glissando:

Embouchure glissandi are played by changing the tension in the lips. The

maximum interval that can be played by relaxing the lower lip is a quarter step

lower. Another possibility is to turn the head joint either inwards or outwards, thus

making the tones sound lower or higher respectively. Again, the interval that can

be achieved is small, maximal a half step downwards and a quarter step upwards.

Rotating the head joint also produces a change of tone color and resonance.

Turning inwards will darken the sound making the tone smaller and quieter, and

turning outwards will make the sound airy, though not necessarily louder.

Glissandi can, therefore, not be substituted in works adapted from violin, for

example. One can achieve the glissando effect, but the loss of resonance suggests

that they are best played in a contemporary setting where composers can write

them idiomatically.

Finger Glissando:

The possibilities of finger glissandos depend on the type of flute. The closed holed

flute is at a great disadvantage. The flutist must gently depress the keys with a

highly refined sense of touch. There will be a sudden change of pitch and tone

color when the key is finally closed all the way. The difficulty of playing this way is

78 Ibid. P. 76

121

that there isn’t any buffer zone as there is on an open holed flute. Faster

glissandos are much more challenging because of the delicate pressure on the

keys.

Robert Dick and jazz flutist Steve Kujala79 have mastered a closed-hole glissando

technique by using a new sense of touch. Another reference to this possibility is

the “Victorian glide” or “rush.”80 Flutists in the Victorian era were playing closed-

hole flutes and were able to glide upwards over two-octaves. What should be noted

in the two examples here is that jazz flutists can control how and when they play a

glissando. A Victorian glide was played on a closed hole flute, but with only eight

keys. Flutists facing new scores can best approach this by developing a technique

for a glissando effect.

Open holed flutes, while easier for some glissandi, still have drawbacks. One slides

the fingers on or off the holes in the keys first then lifts the outer ring of the key.

Glissandi are possible in four tone groups:

C#1 to B2, C#2 to B3, A2 to F# and D3 to A#3. From these four groups, shorter

glissandi can be used.

At the Darmstadt International Summer Course for New Music in 2004, Carin

Levine held a long discussion with both flutists and composers. The composers

79 Steve Kujala is a jazz flutist who was nominated for a Grammy Award in 1989 with Chick Corea. 81Larry K R A N T Z, Frequently Asked Questions, http://www.larrykrantz.com/faqflute.htm, Retrieved March 3, 2008

122

were, in general, under the impression that the flute, when played by a more skilled

player, was able to play long smooth glissandi similar to a clarinet or saxophone.

Carin Levine said that this is simply not so. A flutist can imitate a glissando effect,

but a clean glissando, without holes or bumps in the tone, isn’t possible. During a

lecture/demonstration, composers asked many questions and offered many faulty

and sometimes comical suggestions were offered as to how flutists might better

prepare themselves.

Some composers had asked whether a flutist could play a glissando by combining

an embouchure glissando with the fingers. As described earlier, one can play an

embouchure glissando to a maximum of a quarter-tone higher and a half tone

lower. This half step is reachable when the flute tube is the shortest, in the range of

C#, C and B. However, those keys are not ring keys and a fingered glissando isn’t

possible. The closed keys also prohibit the glissandi between F and F#, Bb and B

and B and C. If one begins with a fingered glissando and plays as far as the

fingering allows, say descending from A to Ab, the tone could then be extended to

a lower Ab, but not a G.


There are many examples in the literature where a glissando effect is the only

option. It is necessary that the flutists find solutions for themselves. In Tenderness

of Cranes by Shirish Korde, one must repeat glissandi that aren’t a part of the

proven range. The composer has written glissandi between Eb2 and C2,

ascending and descending. In this case, one can execute an effect of a quarter

tone. When this is done, the resonance of the tone is lost. Perhaps this doesn’t

matter. Imagine cranes in flight, with their wings moving in graceful slow motion

then suddenly slapping into the water. The glissandi can be begun slowly, as a

long motion of the bird’s wings, interrupted by the splashing sound of a flutter

tongue.

123

Figure 48.


Another possibility would be to use a harmonic fingering, from C1 to Eb1. The ring

keys can be vented while staying on a low C fingering, making a complete

glissando. The compromise here is tone color. The change in sound from an

overblown C1 to a vented fingering sounding Eb2 is immense. The harmonic

sound of the C is more dense and focused than normal, and the vented fingering

for the Eb is more airy than normal. Dynamic possibilities are also limited. One

could experiment with this, keeping the title of the piece in mind, to find the most

musical solution. In fact, this is the work of studying a contemporary score. One

must decide what colors and imagery work in a given situation, finding a well

thought-out solution, balancing the technical work with the interpretation of the

piece as a whole.

Glissandi on the piccolo, alto flute and bass flute are a bit more complicated. They

don’t have ring keys that can be slowly vented. One must learn a new technique

combining an embouchure glissando, a tone color change, vibrato and a new touch

on the keys.

The fingering change can be hidden behind vibrato or masked by the speed that

the glissando is played. For example, the beginning of the glissando is easiest and

can therefore be played very slowly. The listener will hear the glissando begin.

124

When the fingers must be lifted, vibrato can be increased and the glissando can

speed up, hiding the bump in the sound.

In Various Responses (2004) by Kun-Hee Youk, one must play a glissando on the

piccolo over an octave. The difficulty is the constancy of the ascending line. There

is a possibility on the piccolo of venting the front side of the keys with the fingertips.

This is because the keys are so tiny. When one uses an embouchure glissando on

the piccolo, the tone disappears very quickly. If a piece called for an airy effect,

one could use it. But because this is a chamber music piece, there needs to find a

more acceptable solution. One must listen to the other instruments and hide the

breaks in the sound when possible. This means simply playing very quietly during

the loudest fingering changes.

Concluding Remarks:

Despite the complications with playing many glissandi, there are valuable lessons

to be learned. The first is, playing this glissando forces flutists to think about re-

developing their sense of touch. Second, it is chance to experiment. This is chance

for flutists to think critically about the limitations of the technique and apply it in the

most musical way.

III.2.b. Vocal Techniques

The following three techniques, jet whistle, singing and playing and speaking and

playing, ask for radical variations in the shape of the inside of the mouth. By

changing the vowel sound shaped by the mouth in jet whistle, both pitch and color

can be altered. These techniques highlight this possibility of flute playing. Related

125

to singing is throat tuning. Throat tuning was previously discussed in the chapter

on multiphonics but in this section, this possibility is exponentially greater.

Practicing this helps the student be more conscious of the shape of the inside of

the mouth when returning to traditional tones. Where the vast variance in pitch

does not exist with traditionally blown notes, resonance does. Therefore, teaching

these techniques is tandem with lessons on throat tuning and resonance is

recommended.

III.2.b.1. Jet Whistle

A jet whistle is a strong air attack that mimics the starting of a jet engine. The

embouchure hole is completely covered, and the flutist forces air through the tube

with a strong air stream and diaphragm impulse. The same principal applies for jet

whistles as for whistle tones, the longer the tube, the richer in overtones the sound

Vocal Techniques

Jet Whistle Singing and Playing Speaking and Playing

126

will be. That means, when a richer tone with more resonance is needed, a lower

fingering should be used. Often, fingerings are not notated.

Jet whistle is the first technique in this new group that uses vocal sounds, or vowel

sounds to alter pitch or tone color. From a historical viewpoint, composers have

been long experimenting with the voice as a new development of tone color. Much

later, composers like Beat Furrer and Bernhard Lang81 experiment with altering the

shape of oral cavity. In traditional playing, flutists learn that the syllable with the

most resonance for articulation is the French “tu”. For a more open resonance in

legato passages, flutists use an “ahh” sound. These ideas have been expanded

upon with the techniques in this next group.


While playing a jet whistle, one can alter the pitch by altering the vowel sound

formed by the mouth. Moving from an “ooo” to an “eee” sound, the tone will ascend

an octave. Moving from an “eee” to an “ooo”, the tone can descend an entire

octave. In addition to that, one can raise the pitch by turning the head joint

outwards. The flutist plays the jet whistle with the entire mouthpiece inside the

mouth, completely covered. Moving it back behind the teeth, there is still room to

rotate the head joint so that the keys remain flat, not rolled inwards. Doing so will

raise the pitch and increase the amount of overtones. Likewise, rolling the keys

inward will lower the pitch. One can also alter the pitch by using an ascending

scale pattern. This lessens the overtone component, which may not be enough

noise for a jet whistle. In the following example, the jet whistle is notated by the

large upwards arrow.

81 See forthcoming musical examples in section III.2.b.3. of Beat Furrer and Bernhard Lang for realizations of this idea.

127

Figure 49.Heinz Holliger, (t)air(e), page 6, line 1

This example shows how quickly the jet whistle is normally played. One can not

play them over much more time, because of the massive quantity of air that they

require. Playing this example, a flutist will expel all of the available air, in one quick

impulse. Therefore, jet whistle wins the honor of being the first extended technique

presenting flutists with issues of stamina.82 The next example is one of many

others showing the demands made by living composers.

Figure 50.Salvatore Sciarrino, L’opera per flauto/COMO VENGONO PRODOTTI, page 3,

line 6

Repeated jet whistles at this speed need all of the acoustic tricks mentioned above.

One simply does not have time to expel all of one’s air, over and over again. There

is also not time to take a breath in between them. One can experiment with rolling

the head joint at that speed to create more noise. The use of vowel sounds at that

speed is certainly possible. The issue is again, stamina. The diaphragm must move

much more strongly then in traditional playing, and much more quickly.

82 Please see section III.2.f. for more solutions for stamina problems.

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III.2.b.2. Singing and Playing

Singing and playing is a technique that is exactly as it sounds. One vocalizes while

blowing air across the embouchure hole. The difficulty is not in the execution itself

but in its complexity. Normally, a vocal line will be notated beneath the flute line

and the two will be played simultaneously. This technique is probably the most

telling about a flutist’s inner hearing skills. As flutists play single line melodies,

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hearing polyphonic lines is often an underdeveloped skill. Finding the correct

pitches is the first challenge.

Making flutists more physically aware of what their vocal chords are doing while

playing is a good step in learning more about projection. Related to singing and

playing is throat tuning. By singing internally, the vocal chords are set for the

corresponding pitches. This strengthens inner hearing, and according to some,

produces tones with an optimal resonance. One can test throat tuning by randomly

singing the pitches aloud to see if they match the pitch being played.

With singing and playing, there are a few facts that must be accepted.

• First, the voice will greatly distort the tone. One can not expect a clean

sounding polyphonic interplay.

• Second, because of this distortion, difference tones are very prominent.

• Third, intonation, again because of the distortion, will be much more

difficult than either singing or playing alone.

• Finally, text will be difficult to understand.

Singing and playing is therefore often written to produce a new color. One seldom

sees is used as true polyphony or harmony.


Preliminary exercises are found in Robert Dick’s Flying Lessons Volume I where

one holds a simple “ooh” sound while over blowing through the harmonic series.

The point here is to develop control and not let the voice follow along with the

pitches of the flute.

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Figure 51.Robert Dick, Flying Lessons Volume I, Number 2, measure 1

Another more challenging is in Heinz Holliger’s (t)air(e):

Figure 52.Heinz Holliger, (t)air(e),page 6, lines 1-2

III.2.b.3. Speaking and Playing

The discussion of the use of the voice can not go further without also introducing

the practice of speaking and playing. A flutist will speak either directly into the flute

tube or across the embouchure hole. Both methods will produce words that are

somewhat distorted.

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The most essential and accessible work for developing these skills is Voice (1971)

by T_ru Takemitsu. The piece is only three pages which contain only 17 lines of

music. Besides some spoken text, Takemitsu gives absolute vocal freedom. For

example, item C9 in the playing instructions says, “with voice, humming shouting,

singing, etc…”83 There are not any other indications except for dynamic markings.

One has free choice of pitch, vowel and/or consonant and the color of the voice.

Other instructions are to speak into the instrument with the lips almost entirely

covering the mouthpiece and to speak normally. Although this is a classical

composition, one should be aware that Takemitsu also wrote many film scores

including the score to the film Ran (1985). Beginning here can give the student an

idea of the theater and mood of his work.

Moving into the score of Voice, marking all of the vocal tones with colored pencil

would help outline the architecture. The difference between having a performance

simply full of original noises and one that is well designed is the difference in

understanding the form of the piece. Then, the vocals can be consciously chosen

within a larger framework. The pretext for Takemitsu’s Voice is that during the

piece, the flutist encounters a ghost. The interpretation follows from here. One can

decided to do this with any range of emotions; fear, anger, sadness, humor. There

is a danger in getting caught up in effects while losing sight of the larger intention.

A good step to learning this piece is to think of the possibilities of the voice on

general. One could begin by listening to pieces that explore the use of the voice.

Cathy Berbarian certainly exposes the possibilities of the voice, but as the

questionnaire showed, bias against such music is strong. This “craziness” found in

her work might be more threatening than encouraging. More accessible to students

83 T_ru T A K E M I T S U, Voice for Flute Solo, Salabert Editions, Paris 1971

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might be the work of Erin Gee.84 Her Mouthpiece cycle (2000-2005) has a

somewhat pop feel while she uses her own voice in an innovative way. Gee was a

student of Beat Furrer who explores the use of the voice to produce new

instrumental timbres. Relevant to this interplay of voice and instrument is his auf

tönernen füssen which was recorded by Carin Levine.85 Although this piece post-

dates Voice, it can be used in the studio to open the ears to vocal possibilities.

Further work experimenting with vocal sounds can be done via the International

Phonetic Alphabet. This system categorizes all the sounds in the known

languages.86 87

Although the following pieces do not give the freedom as Takemitsu’s Voice does,

they can certainly be used in exploring the resonance of the flute with various vocal

sounds. Beat Furrer and Bernhard Lang have both used extensive vocals

integrated into their compositions.

Furrer’s auf tönernen füssen (2001) is a piece for amplified flute and spoken voice.

During the piece, the two parts should fuse together to make one sound. Furrer

uses the vowel sounds to not only change color but also pitch.

84 More information including sound files can be found here: http://www.focaldesigns.com/eringee/ , Retrieved February

25, 2008

85 Information about her CD can be found here: http://carinlevine.de/CL%20Ordner/CL-CD%60s.html#dialogues, Retrieved

February 25, 2008

86 http://web.uvic.ca/ling/resources/phonlab/ipatut/index.html , February 25, 2008

This website consists of a tutorial with sound files.

87 Erin Gee has written a dissertation using the international phonetic alphabet to describe extended vocal techniques. The

Relationship of Non-Semantic Vocal Music to the International Phonetic Alphabet and Research in the Phonetic Sciences:

Brian Ferneyhough, Georges Aperghis and Dieter Schnebel is not yet published but available in the library of the Universität

für Musik und darstellende Kunst Graz.

133


The flute offers a supporting role to the poem, coloring some of the words as

follows:

Figure 54.

Beat Furrer, auf tönernen füssen, page 4, line 3

Bernhard Lang in Schrift I (2003) for solo flute writes the desired syllables exactly

in the score. For example, one speaks a “te, ke, ti, to” which alters the color of the

pizzicato.88

88 Pizzicato is a percussive effect on the flute played with a strongly articulated attack that stops short of a normal stream of

air through the flute tube. It will be discussed in section III.2.c.3.

134

Figure 55.

Bernhard Lang, Schrift I, measures 2-3

Concluding Remarks:

Where some might find this work fun; experience shows that most flutists find it

difficult. Flutists work on developing beautiful, bel canto sounds and immerse

themselves in learning established traditions. When one is learning a performance

practice, the individual “voice” is often stifled. It is no wonder that some might feel

lost with such freedom. In the studio, the first obstacle to overcome is shyness.

These techniques offer flutists the widest creative freedom since their beginning of

the instrument. This can be threatening. Where teachers previously have guided

the students into what type of sound they are looking for, now it would be wise to

let all that go and give them a chance to explore their own voice. Begin this work

135

by reminding them of what such a challenge can accomplish. To paraphrase Peter

Röbke, the central pedagogical question of new music is, “what does this music

bring out in me that other music does not?”89 90

III.2.c. Percussive Effects

Percussive effects, key clicks, tongue ram and pizzicato, are as they sound, effects

borrowed from percussion instruments. They do not use a normally blown air

stream and are therefore placed late in the discussion of extended techniques.

They require greater diaphragm push and much stronger articulation. Since air

89 For more ideas on non-threatening ways to encourage creativity please see the chapter on improvisation. There are

many exercises there that have been developed to overcome shyness and develop individual expression.

90 Peter R Ö B K E, Vom Handwerk zur Kunst, Didaktische Grundlagen des Intrumentalunterrichts, (2000) Schott Musik

International, Mainz, P. 144

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does not move through the flute tube, a student must first understand how to

create resonance of the inside of the mouth before undertaking them. Therefore,

they follow the section on vocal techniques. The techniques are discussed in order

of difficulty, beginning with key clicks, then tongue ram and finally pizzicato.

III.2.c.1. Key Clicks

Key clicks are played without any blown air at all. One simply makes a percussive

noise with the keys.

Percussive Effects

Key Clicks Tongue Ram Pizzicato

137

Harold Meltzer’s Trapset (1999) is written primarily for key clicks. In this piece he

notates them as normal tones; most likely because there are so many. The

instruction to perform the key clicks is only found in the performance instructions.

The tones written as X’s, which are the conventional notation for key clicks, are

tongue rams.

Figure 56.Harold Meltzer, Trapset, measure 34

There are also examples of key clicks adding a percussive noise without disturbing

the blown pitches.

138

Figure 57.Heinz Holliger, (t)air(e),page 5, line 2

Here the left hand is busy with the A to B trill and the right hand adds the key clicks

by pressing all three right hand keys, then clicking the fingers in the written rhythm.

This doesn’t disturb the sounding pitch.

Another example is from Beat Furrer’s auf tönernen füssen. He writes key clicks

and gives the flutist free choice of what keys to use. The only instructions are to

alternate the right hand and left hand in the given rhythm. The pitches and

fingerings are left to the performer.



The first application is that the flute must stay in its regular playing position. The

written pitch will resonate through a widely opened mouth. Moving the flute off of

the lip raises the pitch by a minor second. Normally, because there isn’t an air

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stream to create overtones, key clicks are written in the first octave. One can

certainly find examples that prove otherwise, and in these cases the solution lies

with the performer. Usually, one fingers the written pitch and forcefully “smacks” or

“clonks” the G key with the left hand third finger. For notes above G, this doesn’t

work. One must slap the key for the written pitch.

Another consideration not immediately apparent is intonation. In Gerd Noack’s

Frühlingstimme op. 39 (2007), he notates key clicks as “claps” that then progress

into a normally blown tone. One must compensate for the sharp pitch of the key

clicks with the blown low C. The low C will be much flatter in comparison. This can

be done by rolling the head joint in during the key clicks, then rolling back for the C.

Figure 59.Gerd Noack, Frühlingstimme op. 39, measure 80-82

Another small detail here is that the blown C does not have a click written above it.

It can be tempting to continue them as before, but the blown C should be glided

into without any extra noise.

Key clicks are the first technique requiring resonance without air. To amplify the

sound, the flutist opens the mouth as widely as possible to amplify the sound. This

technique challenges, and enlightens students about the possibilities of resonance

by altering the mouth position.

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III.2.c.2. Tongue Ram

A tongue ram is a percussive effect that gets its name from ramming the tongue

into embouchure hole. The dictionary states that to ram is to “cram or stuff”.91

91 Ram, http://dictionary.reference.com/browse/ram, February 25, 2008

141

Because the embouchure hole is covered, a tongue ram will make the flute sound

a major 7th lower. An alto flute and bass flute will sound a minor 7th lower and the

piccolo a minor 9th lower. These facts are to keep in mind when transposing works

between the different flutes. Both pitches are most often notated, the top one

being the fingered pitch, the bottom the sounding pitch.

Figure 60.Gerd Noack, Frühlingstimme op. 39, measure 34


The word “ram” is often used when describing car crashes as in “she just rammed

right into me!”92 That about describes the energy it takes to play a tongue ram.

The flutist should blow with a “hoot” sound, ending with the tongue either inside the

embouchure hole or inside the mouth behind the teeth. This feels like playing the

flute backwards as flutists usually use a “tooh” to articulate. The resonance comes

from very forceful diaphragm movements. One can experiment by varying the end

position of the tongue, ending through the lips or by staying in the mouth. The trick

when pushing the tongue into the embouchure hole is to keep it somewhat covered

with the bottom lip. Keep the flute in a normal playing position then roll it inwards.

If the bottom lip is below the back edge of the tone hole, the tongue ram won’t

sound. Another possibility is to start from a normal playing position, roll in, and then 93 Ibid.

142

inhale the tongue back into the mouth ending on the roof of the mouth. The key

here in getting this to sound is energy. The tongue ram needs a fast and forceful

motion. A score will not specify how it is to be played. Factors regarding speed and

dynamic should inform this choice. Tongue ram is often played without a

microphone, and this should also inform the player as to how much diaphragm

motion is needed to get an acceptable volume level.

A common mistake is trying to re-tongue after the tongue ram is finished. This

backlash93 can be remedied by practicing the tongue ram in a mirror without the

flute. One can watch that the tongue stays between the lips when it is finished.

Simply forcefully stick the tongue out and stay there watching it in the mirror.

III.2.c.3. Pizzicato

Pizzicato is a percussive effect for the flute that leaves much room for

interpretation. There isn’t a rule as to how pizzicatos should be played. Carin

Levine has divided them into tongue pizzicatos and lip pizzicatos. To play

93 Carin Levine pointed out this common error, terming it backlash, in during a masterclass in Darmstadt, Germany in 2004.

Since then, the author has noticed how prevalent this error is.

143

pizzicato, one holds the flute in playing position and uses a much more explosive

attack that stops short of a normal stream of air across the embouchure hole. The

volume is much less than a normally blown note. After one has mastered the

execution of pizzicato, there is a lot of room for experimentation. Often, composers

won’t notate whether a pizzicato should be done with the lips or with the tongue.

Other times, descriptions are such that one can only infer that what is meant is a

pizzicato. For example, Gerd Noack in his Frühlingstimme op.39, asks for a “slap”.

It only says that it should be played with tone. There aren’t any indications as to

how much. One can only guess that it should something similar to slap tongue

played on a clarinet or saxophone. A clarinetist will suck on the reed making a

vacuum that results in a “pop” sound when it is released. Because flutes don’t have

reeds, this doesn’t work. The nearest effect is a pizzicato because of its short

percussive nature.

Figure 61.

Gerd Noack, Frühlingstimme op. 39, measure 34

Practical Application for Tongue Pizzicato:

A tongue pizzicato is played by holding the tongue tightly against the roof of the

mouth, holding a pocket of air behind it. When it is forcefully released, a percussive

sound is heard resonating across the embouchure hole. There are as many

144

variances with the sound as there are variances in the shape of the mouth. Since

the air doesn’t run through the length of the flute tube, the shape of the mouth has

a huge impact in the quality of the sound. An open sound such as an “ahhh or an

“ohhh” will create much more resonance. The mouth itself will resonate sound

since the air has not moved very far from it.

In addition to this, one can also vary the consonant articulated by the tongue. Any

consonant involving the tongue is possible. T and K are the most natural as they

are used in normal articulations. The can be softened to D or G sound, or one can

experiment with a Ch or J sounds as well.

Pizzicatos with more resonance use a softer consonant. For less

resonance and a sharper attack, use a harder consonant.

When the tongue is tight against the roof of the mouth, the effect will be shorter

and more percussive. However, it doesn’t expel much air forward. Using a looser

tongue can move some air forward but without the “pop” that comes from the

intense pressure of the former example. One must decide what each individual

piece of music needs.

In Harold Meltzer’s Trapset (the tongue pizzicato, marked “TP”, follows a long

series of other percussive effects. The entire piece is percussive without any

normally blown tones. It is played with a microphone and would be best served

with the crispest sound available. That would be done with a very strong and quick

motion of the tongue allowing the microphone to compensate for the volume.

Figure 62.

145

Harold Meltzer, Trapset, measure 25

Another example is Beat Furrer’s auf tönernen füssen. He begins the piece with a

pizzicato, specifying that it should be done with a “k” sound. Since the piece is

played with a microphone, a short “k” with almost no air is possible. This doesn’t

mean that other variances aren’t allowed. One could use a “ka”, “ke” “ki” “ko” or

“ku” as for the end position of the mouth. The vowel would not be spoken, or even

blown, but the flute would resonate differently. Furrer also writes for the

microphone to be placed on the head joint itself and any small variance in the

shape of the mouth would be heard.


Practical Application for Lip Pizzicato:

Another pizzicato is done with the lips. Again, this is often not specified in a score.

To do this, the flutist holds air inside the mouth then explodes the lips with a strong

“pa” sound. The same principle applies as for tongue pizzicatos.

Looser lips give more resonance; tighter lips make a crisp attack.

Cassandra’s Dream Song by Brian Ferneyhough begins with a lip pizzicato. The

piece is not amplified and one can not play it too softly or else the audience may

not hear it. They may not even know if the piece has begun.

146

Figure 64.

Brian Ferneyhough, Cassandra’s Dream Song, page 1, line 1

It would be wise here to use a pizzicato the produces the most resonance in the

room where it is played.

Another factor influencing the choice of pizzicato is the speed of the passage. A lip

pizzicato is very slow and can not be repeated very quickly. Tongue pizzicatos are

faster but need more preparation than normal tonguing does. Normally the tongue

bounces off of an existent air stream. Here, one needs to regroup between each

one so that the right amount of pressure on the roof of the mouth can be created.

Pizzicatos with double tonguing are certainly possible but the resonance would be

greatly diminished.

Concluding Remarks about Percussive Techniques:

Percussive techniques, key clicks, tongue ram and pizzicato offer a fun mode of

expression for flutists but also teach a valuable lesson about resonance. Achieving

resonance without air running though the length of the flute is a challenge for many

flutists. By highly exaggerating the movements of the diaphragm and tongue, one

can achieve the desired effect. This work offers the chance to build strength and

use more energy. Diaphragm push and articulation strength are enhanced by

practicing these techniques. The ideas learned about resonating with the mouth

will continue to enhance understanding about their ability to project.

147

III.2.d. New Uses of Air

Capitalizing on what has been gained in the previous sections, the flutist coming to

this section will understand the need for more energy in playing contemporary

148

techniques. Thinking about how the flute projects and resonates will come into use

with these techniques. After having gained this knowledge from singing and

playing, the flutist can transfer the feeling of an open oral cavity to aid in projection

while playing air sounds.

New uses of air also challenge the concept of breathing and create physical

discomfort for the flutist learning the various techniques. This is not meant to

discourage, but rather to illuminate the challenges that need to be faced. The

space inside the mouth is even wider than it normally is. The flutist felt these

differences with percussive techniques, but here the difference are coupled with

breathing challenges. The author has grouped the techniques according to pure

physical difficulty. Following the plan below helps breathing develop in the most

logical way.

III.2.d.1. Air Sounds

Air sounds are perhaps the most taxing development on a flutists psyche. As

flutists spend countless hours refining their sounds to eliminate excess air, it can

be discouraging to be asked to put the air back in. The challenge is to convince the

New Uses of Air

Air Sounds Inhaling While Playing Circular Breathing

149

listener that this is done consciously, and is not resulting from nerves or a poorly

developed embouchure.

Air sounds are played exactly as the term describes. One relaxes, or un-focuses,

the embouchure so that the tone is mixed with air. The flute already requires a lot

of air. Playing with even more “wasted” air demands much more breath capacity

and stamina.


The next consideration is how much air to use. Often this is not specified. Toshio

Hosokawa’s definitions in Vertical Song I can help. He writes for air sounds in a

very specific way. He defines the air sounds as follows:

Figure 65.Toshio Hosokawa, Vertical Song I, Symbols

Within a phrase, the flutist must have great facility and a clear idea of how to

change the embouchure.

150

Figure 66.

Toshio Hosokawa, Vertical Song I, measure 7-8

This can be practiced by developing the three distinct permutations of air sounds

seen here, or by practicing air sounds as part of a continuum. For example, begin

with a pure sound then gradually mix in air, aiming for 80% tone, 20% air. Move

then to 50/50, and then to 80% air and 20% tone. End with 100% air. A teacher

can guide this by rotating the hand from palm down to palm up and back again.

The palm down would be a pure tone, sideways is 50/50, and the palm facing up is

pure air. It is then easy to judge when one has given too much air too soon. The

teacher can also work on facility with this by surprising the student with the

direction. This can be practiced in a compact way, say on the three G’s of the flute,

so that the three registers are practiced.94

Immediately noticeable is the amount of air this takes. It isn’t important during the

exercise where the student breathes. Breathing should be done in a relaxed way

and whenever needed. Another factor that needs attention is the shape of the

embouchure. The sides of the mouth and cheeks should gradually become more

relaxed as more air comes into the tone. Some might have difficulty finding the

tone after playing air sounds. This takes time.

III.2.d.2. Inhaling While Playing

A fairly common trend in new music is inhaling through the flute. This is another

technique requiring a much higher stamina level. In order to get enough

resonance, one must inhale a great volume of air and often very quickly. The

94 This exercise is a direct adaption from Jeanne Baxtresser’s vibrato exercise. She uses the hand motion to signify vibrato

speed and asks that the students do this on three G’s, as they represent a complete but compact practice session. The

author learned of this during private study in 1996.

151

difficulty lies with the fact that there is a loss of control over the phrase. When a

composer writes in the inhalation, it is generally not allowed to take a normal and

relaxed breath to get back on track. Another problem is having too much air

through repeated inhalations. This leads to a build-up of carbon dioxide in the

lungs which causes a rise in heart rate.


Bernhard Lang’s Schrift I presents such dilemmas. The following symbol:

Figure 67.Bernhard Lang, Schrift I, symbols

means inhaling through the mouth, presumably audible enough for the audience to

hear. With a quarter note equaling 184, he writes the following:

152

Figure 68.Bernhard Lang, Schrift I,measure 8

This means ten actions over four beats at 184 beats per minutes. Notable is that

the inhalations are marked f while the air sounds are only mf. The inhalations must

be louder than the played notes. One can imagine the difficulty of doing this.

Another possibility is inhaling with written tones. Heinz Holliger writes for inhaling

while double tonguing. The inhalation is marked by the upwards arrow.


He also writes for inhaling with vibrating lips.

153

Figure 70.


Note:

This technique will be discussed much further in section III.2.f., physical

conditioning. At this point, simply notice that the flutist loses control over the

breath and that this technique is a huge impetus for developing stamina.

III.2.d.3. Circular Breathing

154

The comprehensive book on circular breathing is Circular Breathing for the Flutist

by Robert Dick. Without simply reiterating what he has said, the intention of this

chapter is to strongly recommend his method. He systematically describes each

phase of circular breathing. Circular breathing involves squeezing air out of the

mouth with the cheek muscles while simultaneously inhaling through the nose. The

biggest challenge is maintaining a clear tone with the “mouth only” air. This

involves strengthening the cheek muscles and refining the sides of the

embouchure to sustain the tone. This also ties into the ideas of resonance that

have been gradually built upon in the previous sections. When one circular

breathes well, it is not possible to tell when it occurred. During the few seconds

when the flutist inhales, the air is coming only from the mouth. The connection to

the chest and lungs is cut off, causing one to rethink the ideas about a flute tone

needing an open throat and chest. This is not meant to encourage closing the

throat and chest, but rather to highlight how much resonance is possible when one

uses the shape of the inside of the mouth to its maximum.

Circular breathing enables the flutist to play extended phrases which can be used

in modern or traditional repertoire. An added benefit of learning circular breathing is

an increased ability to play convincing diminuendos and pianissimo passages

because of the strengthened cheek muscles.

Robert Dick asserts that with daily practice, circular breathing can be learned in

two months. The author recommends at least double that time.

Concluding Remarks about New Uses of Air:

New uses of air in modern music often take away a flutist’s control. The body is

pushed physically. Mental and perhaps psychological challenges about sound and

resonance force the musician to think about and use the body in a new way. The

benefit for the rest of a player’s flute playing is invaluable. The more ideas about

155

resonance one has, the more expressive one can be. When breathing is no longer

limited, the more creative the phrasing can be.

III.2.e. A Word about Trumpet Embouchure

156

Trumpet embouchure is quite a scandal in the flute world. Some hate it, saying it

should never be written or played, others seem fine with it. To play this, one

buzzes the lips into the tone hole of the head joint or directly into the flute tube with

the head joint removed. Achieving different pitches comes from varying lip tension

and shape of the mouth.

The pressure on the lips is intense because of the small size of the tone hole. It is

much smaller than a trumpet or even a french horn mouthpiece. Anyone who has

tried it will say that it disturbs the embouchure. The lips tingle or itch and can feel

slightly swollen. This makes it difficult to play a clear tone immediately following.

The key in practicing trumpet embouchure is to do it consistently and for very short

periods of time.95 Examples range from short bursts of sound,

Figure 71.Carin Levine, Neue Spieltechniken für die Flöte, page 19

to virtuosic passages,

Figure 72.Carin Levine, Neue Spieltechniken für die Flöte, page 19

95 See chapter on periodization, section III.2.f., regarding muscle building and a practice plan.

157

III.2.f. Endurance and Physical Conditioning: Periodization

Training

In much music with extreme complexity, physical demands are out of reach for

most flutists. One might simply ask, why play it? The reason is: there are flutists

who have already figured out, without the help of a specific method, how to do so.

This means that composers are continuing to write more and more complicated

things, not because the masses of flutists can play it, but because some can. As a

consequent, some of this repertoire makes in way onto competition lists as

required repertoire because of the challenges that it showcases. As said in the

introduction, new music will advance and take over the most conservative

institutions because it always has and always will.

While this is true, there are certain things that one may be willing to play, but can

not responsibly teach. The physical intensity in much new music is beyond what

many flutists are prepared for. Flutists have traded stories of becoming nauseated

while performing the Hermes movement from L’opera per flauto by Salvatore

Sciarrino. This comes from the intense push of the diaphragm. They have also said

that they require an adrenalin boost to hit all of the fourth octave harmonics.

Referring back to jet whistle (figure 49) and harmonics (figure 26), notice not only

the amount of difficulty, but the amount of repeats.

With the involvement of such tiny finger and lip muscles in flute playing, an

adrenalin rush is something to avoid. In sports, there is an optimal level of arousal

for an optimal performance for each athlete. This is known as the “Inverted-U

Hypothesis.”96 Sports requiring the highest level of arousal are those requiring

gross motor skills such as football and weightlifting. Sports requiring the lowest

levels of arousal are those requiring fine muscle control such as bowling or figure

skating. Flute playing requires a degree of fine muscle control beyond any sport. 96 This is also referred to as Yerkes Dodson Law, Yaniv H A N O C H, “When Less is More”,

Theory & Psychology, Vol. 14, No. 4, 2004, P 427

158

The mechanics of the embouchure and fingers require steel nerves, and it is highly

probable that any adrenalin rush would disturb one or both of those systems.

Adrenalin runs through the entire body, and one cannot regulate it to just the

breathing, keeping the fingers and lips adrenalin free. As said by Frank R. Wilson,

Flooding these [smaller] muscles with adrenalin is like urging a mouse with a cattle

prod: the result is spasm and collapse.”97

Looking further into the psychological effects of adrenalin in the body, the author

found numerous studies about adrenalin injections causing feelings of fear. While

these studies were inconclusive, one study did find […] a positive correlation […]

between the intensity of emotional arousal, whatever its quality, and […]

adrenalin.98 One can clearly see the disadvantage this presents for musicians

striving to stay calm an “in control” during a performance. Musicians have busied

themselves with stress relieving techniques99 to minimize the exact symptoms that

this repertoire seems to require. The most typical symptoms of performance

anxiety are a racing heart and shaking,100 and playing a piece with extreme

breathing requirements causes the heart rate to increase. This does not mean that

one will necessarily feel “afraid” during the piece, what it does mean is that the

physical demands aren’t ones we are conditioned for.

It has been surprising to find a deficit of literature about physical conditioning for

musicians. Athletes have known how to train themselves for years. Why don’t

musicians? The body can be trained to do just about anything. Thinking of a flutists

needs, what comes to mind is the athleticism of gymnasts on a balance beam or

figure skaters jumping and landing on a thin blade. They explode with energy yet

maintain control. They’ve simply trained themselves to be at the appropriate level

97 Adina M O R N E L L, Lampenfieber und Angst bei ausübenden Musikern, Peter Lang, Frankfurt am Main, 2002, P. 37

98 LENNART LEVI M.D., The Urinary Output of Adrenalin and Noradrenalin During Pleasant and Unpleasant Emotional

States, Psychosomatic Medicine 27:80-85 (1965), P. 80

99 Adina Mornell in, Lampenfieber und Angst bei ausuebenden Musikern cites twenty-six various therapies aimed at

reducing performance anxiety (pp. 70-71). These therapies are not only practiced by many musicians, but her table shows

multiple studies done on each form of therapy. In addition to this, her book cites hundreds of articles dealing with this theme.

100 Adina M O R N E L L, Ob Cit. P. 36

159

of arousal at the right time. What is missing for musicians is a plan. Flutists can

benefit from sport science regarding both muscle building and endurance training.

The missing link to teaching such complex repertoire is by developing physical

conditioning.

Periodization Training: A Possible Answer

Periodization training, in its simplest explanation, is alternating periods of work and

rest so that the physical arousal is optimal at the right moment. The goal of

periodizing an exercise program is to optimize training during short as well as long

periods of time. Periodized cycles can be created for periods as short as a practice

session or as long as an entire year. The origins go back to Hans Selye’s model,

known as the General Adaptation Syndrome101, which has been used since the

late 1950s. General Adaptation Syndrome says that after an initial stage of alarm,

a person will adapt to the stress which is called the stage of resistance. When a

specific stress doesn’t alleviate itself, or when the body can no longer adapt, the

third stage enters which he calls the stage of exhaustion. In Selye’s medical work,

this is what causes death, or the lack of ability to adapt to life. In sports science,

this means that the ability to cope will be less than it previously was. Periodization

is a development of this theory. By increasing stress and alternating it with rest,

one is able to do more.

Periodization gives a good lesson in preparedness. It eliminates the last minute

"panic practice," since at that point, the work is done. The motto in sports right

before a competition would be, "trust your training." Many musicians are still

learning notes and working on technique at the last minute.

The percussionist Steven Schick writes about the muddied waters between

learning and performing a piece often found among musicians:

101 Hans S E L Y E, The Story of the Adaptation Syndrome (1952) Acata, Inc. Medical Publishers, Montreal, P. 34

160

So often, out of the pressure to learn music increasingly quickly,these two distinct states of mind become confused. The learningof a piece becomes a necessary expedient of performance, butis rarely savored for its own unique qualities.102 103

He wrote this in an article about learning a work of Brian Ferneyhough, which

makes this comment even more applicable to this discussion.

The next section looks into a model from sports scientists into detail to describe

these ideas more thoroughly.

III.2.f.1. A Model from Sports Science

102 Steven S C H I C K, Developing an Interpretive Context: Learning Brain Ferneyhough’s Bone Alphabet, (Winter 1994)

Perspectives of New Music, Volume 31, Number 1, P. 132

104 He wrote this in an article about learning a work of Brian Ferneyhough, which makes this comment even more

applicable to this discussion.

161

Looking into a model for sports enlightens the concept of periodization further. A

sport that is analogous to flute playing is figure skating, because of its fine muscle

control. The level of arousal is needed is at the lower end of the inverted U

mentioned earlier. A team of sports scientists at the University of Delaware Ice

Skating Science Development Center have developed a periodization schedule for

the most elite skaters.104 In addition to numerous articles and studies done there,

the team has published the following chart that can be analyzed and applied to

music:

105 The director of this center, Ron Ludington, has used the research to benefit his students and has coached students in

the previous nine Olympics and thirty-six world championships. http://www.udel.edu/icearena/issdc/about.html, Retrieved

April 10, 2008

162

Figure 73.Michelle Provost-Craig, Johnny Johns, Carl Poe, Debbie Pisos, Eric Lawson,

Novice, Junior, Senior, Cardiovascular Yearly Training Cycle

Analysis and Suggested Application for Musicians:

163

There are several noticeable components of the chart which are often missing from

a musician’s idea of practice. These new areas of exploration are

1) transition

2) the concept of tapering work and

3) multi-lateral training.

Transition:

The periodized season begins with transition or active rest. This means a time of

each year set aside for recovery. Athletes might participate in recreational sports

during this time. They might also take a vacation. Musicians, especially

professional ones, often do not have this luxury. The year is not so neatly

organized where one can plan a few weeks every spring for recovery. Nor are the

most taxing points of any season so easily defined. When, however, a piece of

extreme physical difficulty or complexity will be performed, most musicians could

find a time to rest in the before beginning a new work as well as after the

performance, even if “rest” means playing concerts with traditional repertoire. This

plan could also be applied to a specific competition or to a concerto performance.

In preparing for such a performance, the flutist could use these concepts and

schedule in rest or active rest to begin the preparation phase for a performance.

This time is perfect for learning the notation and doing readings and listening talked

about previously.

Taper:

The second eye catching term in the chart is the word taper. Not only is this a

concept that is often missing for musicians, but the placement of it in the chart is

worth noting. While writing this chapter, the author talked to several musicians who

said that they do taper off their work before a performance, adding that they

practice very little the day before a performance. This is not what is seen in this

164

chart. Athletes are tapering off their training up to two weeks before their

competition. When athletes transition into the in-season phase of training, they

report feel guilty for not being exhausted at the end of the day. The point of this

phase is that one can not practice at a maximum level all day, or the days and

weeks before, and expect to be at a peak level for the performance. During this in-

season time, the training that had been previously done will not be lost. One will

actually feel at a higher level of fitness since the body will recover some lost

energy.

Comparing the chart in figure 73 to a smaller one used by runners 74, notice the

same recommendations; less work three to five weeks before the race. The timing

of this chart shows more flexibility in the time frame for which it is applied. The

minimum amount of time here is twenty-three weeks. The shortest period of long

term training could be done in as little as twelve weeks.

Phase Howlong?

Frequency Duration Intensity Volume

Prep 4-8weeks

High Short-Medium Very little Low

Base 12-24weeks

High Medium- High Moderate Moderateto High

Build 4-8weeks

Moderate-High High Heavy Moderate

Peak/Race 3-5weeks

Moderate Short Heavy Low

Figure 74.Mike Ricci, Periodization Chart for Runners

165

In the frequency category of this chart, notice that it is at it’s highest in the

beginning and tapers off towards the race. The intensity of the work steadily

increases until the race. What this chart shows is that the most intense work will be

balanced with a moderate frequency of work done for short durations of time.

This same development is seen in the skater’s chart as they eliminate aerobic

training and run competitions programs back to back. The intensity of that work is

higher but the time period much shorter. The longest program a skater does is four

minutes. Programs ran back to back makes eight minutes. Earlier, they had been

doing aerobic session for twenty to thirty minutes.

Multi-lateral training:

A third component seen in this chart that is most often missing from a musicians

practice is that of multi-lateral training. Look at the amount of off-ice training time

and notice aerobic sessions, anaerobic sessions which consist of intense work

such as plyometrics105 106 and interval training which includes weight training. In

plyometric training, the skaters will simulate jumps and landings by jumping over

boxes and on and off of boxes. This develops the explosiveness in the muscles

without taxing the body or mind with the specific technique. This also minimizes

injury since there are fewer falls on the floor or mat than there are on the ice. This

helps build confidence since the strength is developed apart from a testing

atmosphere of an on-ice session.

105 Plyometrics was originally known as “jump training” and has expanded to include numerous exercises that link strength

with speed in order to produce power.

106 Donald A. C H U, Ph.D. Jumping Into Plyometrics, (1998) Second Edition, Human Kinetics Publishers, P. 1

166

III.2.f.2. Practical Application of Periodization for Flutists

For a teacher guiding a student through this process, a new schedule needs to be

developed. In the early off-season, the athletes learn new elements and increase

overall fitness. As said in the discussion of introducing new works, a lot of the

preliminary work should be done without the flute. This eliminates stress while

allowing the student the time to adjust to new notations and rhythms. Any new

techniques can be charted and experimented with. This is also the time for

mapping out the physical difficulties of the piece that need attention. These areas

can be divided into the following components:

1) preliminary work

2) fingerings and traditional playing techniques

3) extended techniques requiring a higher degree of embouchure strength

4) sections of the piece requiring a higher degree of breath control and

stamina

Once those work areas have been defined, one can further apply periodization to

the development of physical conditioning. Those needs are embouchure strength

and stamina with breath control.

Embouchure Strength:

Where flutists spend years doing very gentle stretching exercises to refine the

embouchure, facing a piece with a new embouchure requirement needs to be done

much more quickly, without disturbing the normal embouchure. This needs to be

done with minimal strain and fatigue so that the flutist can continue playing

normally. There is not any mention in the teaching methods of how one builds

muscle. Trumpet embouchure and third and fourth octave harmonics require

167

muscle strength in the lips that would be very strenuous for most flutists. The

arguments against trumpet embouchure exist for this reason. If it could be taught

without disturbing the normal embouchure, it wouldn’t be the hot topic that it is.

Stamina:

Another problem is that flutist’s ideas on stamina building are faulty. The current

philosophy is that if the player can play the entire program though twice, then the

recital will be easy. This does not account for the fatigue that the very practice of

playing a program twice through causes. Nor does it acknowledge any type of time

frame so that there is adequate recovery between these marathon practice

sessions and the performance itself. A marathon runner would never think of

running a practice marathon the day before the real race. Nor would he or she run

the marathon six months in advance and hope that the conditioning remained at a

high level.

Regarding stamina with breath capacity, challenges already exist in the traditional

repertoire. Dr. Brad Garner recommends playing the second movement of the J. S.

Bach’s Sonata in C Major twice through, with all repeats, to build stamina. The

movement consists of long phrases with only one chance to take a breath lasting

one full beat. The flutist must practice taking short catch breaths between the

beats. Playing the movement twice through highlights the problem where one

cannot take in enough air during a catch breath. Each phrase would then have less

and less air making the movement very uncomfortable. The process of playing the

movement twice through teaches the flutist how to maximize the amount of air one

takes in during a catch breath.

The notorious passage of Mendelssohn’s Scherzo from a Midsummer Night’s

Dream frequently appears on orchestral audition lists in order to showcase the

player’s breath control in this same regard. Before the last phrase, one must

168

breathe between two 16th notes in 6/8 time at speeds between 80 and 92 beats per

minute.

Figure 75.

Felix Mendelssohn-Bartholdy, Ein Sommernachstraum, Scherzo, letter P

169

Practice alone develops the skill of acquiring enough air to make the final phrase.

Dr. Garner recommends playing this phrase twice through, without a pause, to

ensure that the breath will be sufficient under the stress of an audition or

performance. This idea is fine. What is missing is when and how often it should be

done. There is also not any mention of what happens psychologically when it is not

possible.

While studying breath control in traditional repertoire, flutists learn that all of the

breaths within a piece should be planned well in advance of a performance. This

minimizes the risk of running out of air in the middle of a phrase. In order to cope

with performance stress, flutists often mark optional breaths in parentheses for

those phrases where they might feel stretched beyond what is comfortable.

Therefore, during the performance, the probability of not having enough air is

minimized. The flutist who does not have enough air, or who does not exhale

before the air gets stale, will feel a real physical emergency. The heart will race.

How does one cope with a situation that requires breath holding? Breathing was

something previously under a performer’s control. Flutists have been taught to use

air in the most musical way, playing phrases and lines independent of the breath

marks. “ […] the music must be the priority in how we play. Creating wonderful

music may mean that some people cannot get through certain phrases in one

breath.”107

107 Alexa S T I L L, Breathing, http://www.larrykrantz.com/alexa.htm#breath, Retrieved March 3, 2008

170

III.2.f.3. Practical Application in Heinz Holliger’s (t)air(e)

Breathing Challenges:

What is one to do when a composer takes away the flutists control over breathing?

Heinz Holliger’s (t)aire(e) for solo flute, is such a piece. It is organized as a series

alternating inhalations and exhalations with breath holding in between. The player

is asked to empty the lungs and then hold the breath as long as possible, inhaling

only when it becomes absolutely necessary. Then he or she is asked to hold the

breath while filled with air, exhaling only when necessary. This causes a build up of

carbon dioxide in the lungs. Carbon dioxide in the lungs causes an increased heart

rate and stresses the vascular system which causes pressure in the head and

ears. When runners run the 100 meter dash, they compete so intensely for such a

short time that they use more oxygen than they have for those nine or ten

seconds. Their bodies allow them to compete with the depletion because it knows

that it will simply take in more oxygen after the race. The tiredness that flutist would

feel later in the piece has to do with just that. The breath holding is the sprint. The

more that this is trained, the faster the recovery will be.

Looking into the score, the first phrase ends with, “with the last of your air”108 which

is followed by the instruction “do not breathe”.109 The next inhalation comes in line

two, notated by the upward arrow. This inhalation is not a normal one. The player

uses the written syllables and inhales with the lips covering the embouchure hole,

through the flute tube. Then the player waits for seven seconds without breathing.

With all of the air gained in the previous phrase, the air stays in the lungs and waits

for the explosive relief in the last measure of line two. The end of line three offers a

small rest when the flutist can “breathe in unnoticeably.”110

108 Heinz H O L L I G E R, (t)air(e), (1988) B. Scott’s Söhne, Mainz, Page 1

109 Ibid, Page 1

110 Ibid. Page 1

171


Line four starts the cycle again, alternating inhalations, exhalations and not

breathing. Holliger adds another symbol here, an upwards arrow, which means a

“short noisy taking of breath”.111


This does not give the flutist complete control over how much air to take in. The

first real break comes on page four, line twelve with the fermata standing alone.

That is the first chance for the flutist to take a relaxed and controlled breath. The

rest of the piece continues without other breathing challenges until a short reprise

of ideas on page six, lines two, three and four.

111 Ibid. Explanation of Symbols

172

Figure 78.

Heinz Holliger, (t)air(e), page 6, lines 2-4

When the teacher plans the work period for this piece, the breathing work should

come early on. What can be learned from the athlete’s multi-lateral approach is

that practice can start without the instrument. Using a metronome and visually

scanning through the piece, the flutist can practice all of breaths alone. A technique

that is very valuable is to “play” the piece through a normal drinking straw.112 The

flutist can articulate through the straw and listen to the air by itself. This shows how

much air is being used. The benefit of this is to focus solely on breathing so that

muscles develop and the body is conditioned with minimal stress. Isolating the

breathing in this way allows the flutist to work harder on breathing than he or she

normally would since other factors aren’t in the way. The first work area

recommended is from the beginning until the end of line three, where there is a

short break. To begin, the flutist can also leave out the written syllables in line two

and focus solely on breathing. By doing do, the breathing practice is initiated with

as little tension as possible. The next work area is considerably longer, ending with

a short break in line eight.

112 This technique was learned at the 2001 Lake Placid Institute of the Arts with Linda Cheis, Mahanttan School of Music

Faculty member.

173

Figure 79.Heinz Holliger, (t)air(e), line 8

This could be divided in half until the individual sections feel under control. At that

point, the flutist would combine them together. This practice continues until the end

of the section, page four, line three.

During this phase of practice, fingerings, rhythms and other techniques should be

practiced without the breathing requirements. The flutist should breathe whenever

necessary. As was seen in the figure 72, hard work was always balanced out.

When isolating the breathing work, the flutist will feel tired. In time the body will

adjust. Looking at figure 71, this work falls into the off season; learning new

elements. To increase confidence with the breathing sections, the player could

practice sections back to back, without a pause in between. This is helpful but one

needs to remember that this is done in advance, at the latest, in what would be the

pre-season phase. At this time, the player should also have developed enough

control over technical passages that they can be played with the flute.

Breathing Work through Multi-Lateral Training:

Another possibility is to cross training and building overall endurance. What

happens in this piece is similar to anaerobic conditioning. The word anaerobic

means “without air, or without oxygen”.113 Anaerobic exercises are short and

113 Anaerobic exercise: Energy without oxygen, University of Iowa Healthcare,

http://www.uihealthcare.com/topics/exercisefitness/exer3098.html, Retrieved February 25, 2008

174

intense, not lasting longer than a few minutes. Athletes use these to train for when

they do not have enough oxygen. For example, a runner will add short sprints into

a jog in order to build endurance. The exercises would begin for short intervals of

time, between thirty seconds and one minute, with about the same time of rest in

between. This would be increased to two minutes with thirty seconds rest. Short

explosive exercises like jumping rope or sprinting accomplish this. The high-

intensity phase should be long and strenuous enough that a person is out of breath

and recovery periods should not last long enough for their pulse to return to its

resting rate. “Coaches advise that, ideally, people should not do interval work on

consecutive days. More than 24 hours between such taxing sessions will allow the

body to recover and help them avoid burnout.”114 A word of caution, the point is not

to jump around and then try to play the piece. That only adds stress. One puts the

body through a similar stress so that it adapts. Simulate the situation, but certainly

not with the flute in hand. While this is a direct route to conditioning oneself for the

fastest recovery time possible, it can not be recommended for all flutists. This is an

extension of exercise for those who are already aerobically fit.

One could also work with a breath builder. These small, portable machines work

with a resistance knob on the end so that one breaths in and our through the

mouthpiece with an increase in resistance. Breath builders115 have been used by

patients recovering from various lung illnesses as well as by elite athletes. They

increase lung capacity. By increasing lung capacity anaerobic endurance is

greater. Adding exercise or work with a breath builder can not be recommended

without caution by the author. When one has been exercising, one could certainly

add to the intensity of the routine. When a breath builder is already being used,

106 Peter J A R E T, A Healthy Mix of Rest and Motions, New York Times,

http://www.nytimes.com/2007/05/03/fashion/03Fitness.html?_r=1&st=cse&sq=a+healthy+mix+of+rest+and+motion&scp=1&o

ref=slogin, Retrieved April 15, 2008

175

one could increase resistance. Starting from scratch with such methods over a

short time period could add unnecessary stress. These examples are therefore

meant as an example of what is possible regarding multi-lateral training.

Building Embouchure Muscles:

The next area of work in (t)air(e) is building new embouchure muscles. One needs

control until the end of the piece. The pppp found at the end with harmonic

fingerings needs extreme embouchure control. One can not risk fatiguing the

muscles earlier in the performance. On the last line of page four and first line of

page five, there is a fourth octave passage.

Figure 80.Heinz Holliger, (t)air(e), pages 4-5

On the first line of page six, Holliger writes the following:

Figure 81.


176

In the explanation of symbols, the upwards arrow means inhale. The symbol on the

third tone in this measure means to vibrate the lips while inhaling. Using principals

of overload,116 the flutist can begin with short burst of sound and gradually increase

the number of times this is done in a practice session. At first, five attempts would

fatigue the lip muscles. Immediately after, relaxed first octave passages should be

practiced. Once the sound is achieved, the flutist can practice lengthening it until

the required four seconds is reached. The difficulty with this limited amount of

allowable practice is that there is limited time to refine the embouchure and

experiment with the most economical way to produce the sound. This can be

thought of in advance of an attempt so that a) the muscles relax in between

attempts, and b) there aren’t any wasted attempts. As with all intense exercises,

this should not be done every day. Practicing every other day gives the lips

adequate time to recover.

Fingerings and Other Techniques:

To learn the traditional aspects of the piece, one would read through as if none of

the extended techniques are there. For example, instead of practicing the notated

toneless passage on page one, line four:


116 “Overload” traditionally means doing more today than you did yesterday. When one can do this, “training“ has

occurred.

177

.

One would simply practice the tones as such:

Figure 83.Jennifer Borkowski, Exercise for Heinz Holliger’s (t)air(e)

Other work that needs to be done in the piece includes tuning the quarter-tone

passages including page one, line three:


and the extended passage on page six:

178

Figure 85.Heinz Holliger, (t)air(e), page 6

Another technical challenge one must allow sufficient time for is the fast passage

on page five. The pppp passages can be practiced slowly with singing to help set

the lip position for the extreme dynamic. The sff tones can be lengthened just

enough to produce more sound but without changing the rhythm. The real

challenge in this section comes in lines six and seven, as the thirty-second notes

should remain thirty-second notes. The chromatic patterns in the beginning of this

section are much easier than the last phrase with leaps occurring sometimes over

two octaves.

179

Other areas of developing lip control include the whistle tones on page five, line

two:

Figure 86.Heinz Holliger, (t)air(e),page 5, line 2

And the standard whistling moving into whistle tone on page four, lines six and

seven.

Figure 87.Heinz Holliger, (t)air(e), page 4, lines 6-7

180

This is a fingered D whistle tone moving into a sounded D. The transition should be

seamless. A lot of embouchure work coupled with singing and playing make this

possible. This is a wonderful piece to strengthen the embouchure overall. The

whistle tone passages are not fatiguing like the fourth octave and trumpet

embouchure are. The lips are more relaxed than usual and this can be practice in

any given session without worry of a training schedule.

The time table allows more than enough time for the fingerings to be learned while

breath support and stamina are being developed.

An example of a practice plan for learning this piece is found below in figure 84.

Please compare it to figure 70 as figure 84 is an adaptation of figure 70.

181

Figure 88.

Jennifer Borkowski, Periodization Model for Heinz Holliger’s (t)air(e)

182

Concluding Remarks:

All of the recommendations above are guidelines and this does not mean that any

one individual must follow it exactly. What has been described is the theory, and

this theory can be put into practice in a number of ways. Foremost, the time frame

can be lengthened up to as long as six months. One must follow the proportions

and adjust their personal calendar. Also, if someone does not find trumpet

embouchure fatiguing, there is not a reason to practice it in a limited way. Some

flutists will come to this piece with plenty of experience in the fourth octave and not

find it difficult. Others need to begin from the ground up. The guidelines are there

so that the majority of flutists can be reassured that their muscle fatigue is normal.

They also have a plan for working through the problem. What multi-lateral training

does is set the work area away from the music. When one only works with the

instrument, the repertoire itself becomes a test. Periodization eliminates this aspect

of practice. Looking back at figure 73, weeks before the competition the

conditioning is done. It does not mean that the performance will be perfect. The

periodization theory seeks to eliminate fatigue, injury, testing and competition in

practice sessions and ultimately, stress. It thoroughly answers questions and gives

flute teachers tools they need to introduce such challenging works into their

studios.

183

III.2.f.4. A Periodized Daily Studies Program

Many flutists who specialize in modern music have commented that they do not

use extended techniques in daily studies. They probably get enough of a work-out

since they are playing repertoire using them very often. This is not true of most

flute students or professionals who do not play much new music. Learning the

techniques only when they need to be performed causes unnecessary stress on

the body and mind. Assimilation in daily studies is a must. This program does not

use microtonality, multi-phonics or circular breathing, all of which should be

practiced. The techniques here are those which require greater physical stamina

than traditional playing and therefore fit into a “training” program. The exceptions in

the chart below are those techniques used for recovery periods.

The author has assigned the following techniques a value based on the physical

energy level they require. The values are as follows:

Flutter tongue: 4

Harmonics: 5

Jet whistle: 10

Polyrhythm: 2

Pizzicato: 7

Tongue Ram: 6

Air sounds: 5

Whistle tones: 1

These levels are based on a scale of 1 to 10, with traditional playing lying between 3

and 5. This is variable for any individual however the author has designed a periodized

daily studies program that maximizes energy expenditure and recovery periods.

Eventually, some of the levels will even out as the techniques become better trained.

Flutter tongue and harmonics will become second nature as the muscles learn to play

more efficiently. Constants in this list are jet whistle, tongue ram, pizzicato and whistle

tones. Regarding improvisation; it is strategically placed after the jet whistle so that the

184

flutist brings this energy into the improvisation. There aren’t any guidelines as to how

long or how much should be played. Jet whistle, being an “anti-flute” technique, is

meant to free up the performer not only with fresh breathing, but also from other

confining thoughts.

In the program, improvisation is meant to lay anywhere between level 10 and level

2. The sequence relaxes itself at this point and the player can chose how much

energy to spend during the improvisation.

Periodization charts of work and recovery follow this type of pattern. The difference

between these wave-like charts and the plan developed by Michelle Provost-Craig

(Figure 70) is that the first is geared toward maximizing rest and recovery and the

other is geared toward “peaking” for an optimal performance. Both systems,

however, follow a wave-like pattern. The latter simply finishes the wave in a

downwards turn so that the body is recovering lost energy for the peak phase.

Tudor O. Bompa shows the wave patterns in the following two charts. Notice that in

the second chart, performance suffers because of the constant stimuli.

Figure 89.

Tudor O. Bompa, Periodization Theory and Methodology of Training, P. 17

185

In another chart, the wave patterns occur in a time period over 12 weeks. Bompa

asserts that all models follow this same wave pattern, whether occurring within any

given “workout” or over an extended period of time.

Figure 90.

12 Week Periodization Chart

The practice plan devised by the author assimilates the levels above and also

follows wave-like patterns. These exercises end purposely on a down-turn since

this is only one component of a flutist’s daily work. The flutist can decide how to

structure the rest of the practice session based on periodization concepts.

186

Figure 91.Jennifer Borkowski, Periodization Line Graph

Exercises:

187

Improvise!

188

Try to be as expressive as you would normally be. Just as the three high G#’s would

all have a different tone color, give them a different permutation of air sound.

The high tones should be whistle tones, played with the third octave fingering.

Figure 92.

Jennifer Borkowski, Periodized Daily Studies Program

189

IV. Conclusion

Throughout the dissertation, answers from the questionnaire respondents have

been highlighted to show the prevalence of new music in universities as well as

prevailing attitudes about new music. From their answers, she found that complex

repertoire is seldom played. The author took the answers from the respondents

and addressed their concerns. This, coupled with practical teaching experience,

provided the target group for which the program was developed. Causes for this

were defined and the solution is divided into two main parts: The first section builds

a bridge to influence learning. Connecting with students by first understanding their

obstacles, motivation is influenced and practice strategies are defined. The second

section teaches each extended technique by explaining the cognitive techniques

and then developing the kinesthetic techniques by building acoustical and body

awareness. Students learn how to resonate through their bodies and gradually

increase the physical energy they use.

Section One:

First, the common barriers are understood by reviewing a masterclass. The

successes with techniques and the difficulties with notation were discussed. New

scores require a new approach, and problems of dissemination of information have

not helped flutists. Misleading repertoire lists were addressed by creating a new

grading scale which is followed by recommendations for study. This is not only

informative about what repertoire could be played when, but makes more works

accessible to younger students. Remember that the questionnaire respondents

experience with the intermediate level repertoire has been immensely positive. It

does not benefit the player to wait until the rest of the literature has been mastered.

Those who were still waiting had mostly negative feelings about new music.

190

Offering new motivations for studying contemporary repertoire, the author provided

alternate uses for the techniques to augment efficiency in teaching studios. By

using new techniques to reframe old problems, the author proposed that students’

first experience to them will be positive, thus opening receptivity. It is imperative

that students begin with a new mindset towards this intense study. Beginning with

this fresh perspective about the importance of the work, students will be better

prepared to see the process through to its end.

Moving onto the printed page, examples from repertoire were chosen to show the

importance of involvement in interpreting a new score. Practical steps give flutists a

framework for practice and assist in defining short-term goals. Lighting a path to

follow lessens anxiety and consequent resistance. Despite the guidance given, the

broader aim of this section was to introduce students to the concept that all

answers will not be clear, and that diving into a new score ultimately means a

deeper connection with that score and the composer who wrote it. As was said in

this section, through this work I strengthen myself.

Section Two:

In the second section, the literature teaching extended techniques has been

expanded by adding practical suggestions for their application along with a

discussion of their use in repertoire. The manuals of Robert Dick and Carin Levine

were thoroughly discussed along with practical experiences from the author and

others in the contemporary music field. The author categorized the techniques in a

new and logical way allowing for continuity in teaching studios. Flutists will benefit

from this approach as it focuses on physical and acoustical similarities in each

grouping. In addition to this, this approach neatly crosses over into traditional

playing since the flutist is asked to think about resonance, both within the flute itself

and with an individual body.

191

Beginning with borrowed techniques, flutists follow the progression from flutter

tongue, techniques based on harmonics, multi-phonics and glissando. Vocal

techniques follow opening the oral cavity and beginning the first ideas about

greater resonance and projection. Percussive techniques follow so that the student

can apply what was learned through vocal techniques. Eliminating air moving

through the flute causes projection challenges. Changing the vowel position of the

inside of the mouth, percussive techniques have greater resonance. Flutists also

need stronger diaphragm muscles and more explosive articulations. Air sounds are

then taught since the added challenge of breathing is added to the acoustical

lessons from before.

The final section gave the most complete discussion of how one prepares

physically for the demands of many pieces of new music. The focus is on preparing

(t)air(e) for solo flute by Heinz Holliger because of the physical demands in makes

on the player regarding breath control. The author was inspired through her

knowledge of periodization training for athletes. She took this knowledge and

looked for a way to adapt the theory to preparing for a musical performance. The

concept of periodization involves preparing the body in ways that musicians

traditionally neglect. The concept of tapering off work before a performance is

something novel to many musicians. Stamina building has been only guessed at to

this point. The solutions here are solid as they are based on a tried and proven

theory in sports science. Musicians will also benefit from the ideas of multi-lateral

training, or cross training. Introducing these concepts gives musicians clear ways

to physically prepare without adding to their stress level. Periodization seeks to

minimize injury and allow the body to peak at the right moments. The theory, when

well applied, will lessen worry about preparedness and allow for more creativity

and enjoyment during performances.

There are many examples of new music turning into something analogous to an

extreme sport. However, in spite of the high physical demands, there are many

pieces that are musically worthwhile. They are often neglected because of the lack

192

of information about how to approach them. Now, flutists can use this system to

more confidently prepare themselves. This cross-over idea is completely new and

has potential to be explored in greater detail for all musicians.

Overall, the dissertation makes complex repertoire more accessible to flutists. The

program seeks to first understand the students and then address their common

situation both emotionally and technically. Teachers are also empowered to use

extended techniques in their studios by implementing a concrete plan. Introducing

extended techniques in new ways makes way for the younger generation of flutists

to approach new music positively. The hope is to lessen competitiveness and

stress and allow the often neglected complex repertoire to have its rightful place in

both study programs and concert halls.

193

V. Recommendations for Further Research

Throughout the research phase of the dissertation, the author spoke with several

physicians about the possibility of measuring the heart rate, blood pressure and the

amount of residual carbon dioxide in the lungs when playing a piece such as

(t)air(e) as opposed to something traditional such as a Bach Sonata. Several knew

of a ways to do this but were unable to assist any further because of the high cost

involved, especially with the machine that measures CO2. The author hopes that

this research can be continued at some point in the future.

One could also measure the resting and active heart rates of musicians, as well as

the vital capacity of the lungs of musicians who used multi-lateral training versus

those who did not. By focusing on specific breath building techniques, the

effectiveness of this training could be quantified. In a study done by the University

of Zurich117, a lung resistance trainer was evaluated in a study that included COPD

(chronic obstructive pulmonary disease) patients as well as elite athletes. These

two studies were very small and insufficient. The author hopes that these training

devices can be tested on wider body of musicians since their benefit seems

worthwhile.

117 B O U T E L L I E R, B U C H E L, K U N D E R T, S P E N G L E R, Research Studies for Athletes and COPD patients,

http://www.expand-a-lung.com/Research_Studies/research_studies.html, Retrieved May 13, 2008

194

VI. Appendices

VI.1. Fingering Chart

195

Figure 93.Fingering chart

196

VI.2. Graded Repertoire List

Level 1

Louke, Phyllis, Extended Techniques-Solos for Fun, published by ALRY, 2006

Louke, Phyllis, Extended Techniques-Double the Fun, published by ALRY, 2003

Level 2

Erb, Donald, Music for Mother Bear for Solo Alto Flute, published Merion Music,

Inc., 1970 (Can be played on the flute as well)

Folio, Cynthia, Flute Fantasy, Published by the composer, 1976

Etudes and short concert pieces

Fortin, Viktor, No Problem, 14 easy duets with annotations and commentaries by

Arno Steinwider-Johannsen, Published by Döblinger, 2006

Gasser, Ulrich, Papierblüten (Paper Blossoms) Published by Riccordi, 1982-84

Heiss, John, Etudes for Solo Flute, Op. 20, published by JBE and Son Music, 1986

Holland, Linda, Easing into Extended Techniques, published by Con Brio, 2000

Lorrain,Denis, Du jour, la nuit, published by Lemoine, 1995

Louke, Phyllis, Extended Techniques-Solos for Fun, Published by ALRY, 2006

197

Louke, Phyllis, Extended Techniques-Double the Fun, Published by ALRY, 2003

Offermans, Wil, Für den jungen Flötisten (For the Young Flutist),published by Zimmerman, 1995

Offermans, Will, Für den Zeitgenössischen Flötistin (For the Contemporary Flutist)published by Zimmerman, 1992, 12 Etudes, each focusing on one technique

Stahmer, Klaus Hinrich, Aristofaniada for flute solo, published by Zimmerman,1979

Van Buren, John, Incandescence, published by Edition Modern

Veilhan, Francois, Sonorité et techniques contemporaines (Sound andContemporary Techniques for the flute), published by Lemoine, 2006Nine Etudes with exercises

Wye, Trevor, A Very Easy 20th Century Album, published by Novello, 1990

Level 3

Aitken, Robert, Plainsong, published by Universal Edition, 1977

Aitken, Robert, Icicle, published by Éditions Musicales Transatlantiques, 1977

Ayers, Lydia, Time’s Graffiti, Lucky Calligraphy, available from the NFA Library,2006

Bennet, Richard Rodney, Six Tunes for the Instruction of Singing BirdsPublished by Novello, 1962

Brown, Elizabeth, Trillium, published by Queztal, 1999

Colquhoun, Michael, Charanga, available from the NFA Library, 1993

Corbett, Sid, Cactus Flower, published by Moeck, 1988

198

.Dick, Robert, Flying Lessons, Volume I, published by MMB Music, 1987

Dick, Robert, Flying Lessons, Volume II, published by MMB Music, 1987

Dick, Robert, Lookout, published by MMB Music, 1989 Dick, Robert, Tone Development Through Extended Techniques, published byMMB Music, 1985 Dick, Robert, Fish are Jumping, published by MMB Music, 1999

Dick, Robert, Or, published by MMB Music, 1984

Folio, Cynthia, Acra Sacra, published by Hildegarde publishing, 1997

Fonvile, John, Venus Noodles, available from the NFA Library, 1996

Fukushima, Kuzuo, Mei, published by Zerboni, 1962

Granados, Marco, Le Bella y…and el Terco, available from the NFA Library, 2007

Heiss, John, Fantasia Appasionata, Episode IV, available from the NFA Library,1994

Higdon, Jennifer, Song for Solo Flute, available from the NFA Library, 1995

Huber, Nicolaus A. - First Play Mozart, published by Breitkopf & Härtel, 1993

Kidde, Geoffrey, Night Flight, available from the NFA Library, 2002

La Berge, Ann, Revamper, published by Frog Peak Music, 1992

Martino, Donald, Quodlibets I, published by Dantalian, 1962

Martino, Donald, Quodlibets II, published by Dantalian, 1980

Messiaen, Olivier, Le Merle, Noir, published by Alphonse Leduc, 1951

Miserell-Mitchell, Janice, Sometimes the City Is Silent, available from the NFALibrary, 2003

199

Payne, Maggie, Reflections, available from the NFA Library, 2004

Schocker, Gary, Short Stories for Flute Alone, published by Theodor Presser, 1999

Scelsi, Giacinto, Quays, published by Bärenreiter, 1953

Scelsi, Giacinto, Pwyll, published by Bärenreiter, 1954

Solum, John, The American Flute, published by MMB Music, 1994, A collection ofshort concert pieces

Yun, Isang, Sori, published by Bote and Bock, 1988

Ziegler, Matthias, Morceau de Concours, published by Mathias Ziegler, 2004

Level 4

Berio, Luciano, Sequenza I, published by Universal Editions, 1958

Carter, Elliot, Scrivo in Vento, published by Boosey and Hawkes, 1991

Furrer, Beat, auf töneren füssen, published by Bärenreiter, 2001

Furrer, Beat, Presto, published by Bärenreiter, 1997

Holliger, Heinz, Sonate (in)solit(air)e, published by Scott, 1988

Holliger, Heinz, Lied, published by Breitkopf and Härtl, 1971

Hosokawa, Toshio, Atem Lied, published by Scott Japan, 1997

Hosokawa, Toshio, Vertical Song I, published by Scott Japan, 1997

Korde, Shirish, Tenderness of Cranes, published by Neuma Publishing, 1991

Nicolet, Aurèle, Pro Musica Nova / Studies for Playing Avant-Garde Musicpublished by Breitkopf and Härtel, 1974

200

Offermans, Will, Nesting Cranes, published by Zimmermann, 1999

Stockhausen, Karl-Heinz, In Freundschaft, published by Stockhausen Verlag, 1977

Takemitsu, T_ru, Itinerant, published by Schott, 1989

Takemitsu, T_ru, Voice, published by Schott, 1971

Zender, Hans, Lo-Shu II, published by Bote and Bock, 1978

Level 5

Boulez, Pierre, Sonatine for Flute and Piano, published by amphion, 1946

Dick, Robert, Afterlight, published by MMB Music, 1973

Dillon James, Sgothan, published by C.F. Peters, 1984

Ferneyhough, Brian, Cassandra’s Dream Song published by Peters, 1970

Ferneyhough, Brian, Superscripto for Piccolo, published by Peters, 1981

Ferneyhough, Brian, Unity Capsule for Bass Flute published by Peters, 1975-76

Haas, Georg Friedrich, Finale, published by Universal Edition, 2005

Holliger, Heinz, (t)air(e), published by European American, 1980-83

Kawashima, Motoharu , Manic Psychosis, published by Japan Composers Society,1991-92

Lang, Bernhard, Schrift I, published by Zeitvertreib Wien Berlin, 2003

Sciarrino, Salvatore, L’opera per flauto, published by Riccordi, 1977

201

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Periodization, http://www.fitrex.com/periodization.shtml, Retrieved February 25,2008

Periodization Schedule, http://combat.island-escape.com/CCPeriodization.htm,Retrieved February 25, 2008

Periodization, Year at a Glance,http://www.computrainer.com/html/manuals/workout/Table3.html, RetrievedFebruary 25, 2008

P E R LO V E, Nina, Transmission, Interpretation, Collaboration-A Performer’sPerspective on the Language of New Music: An Interview with Sophie Cherrier(Winter 1998) Perspectives of New Music, Volume 36, Number 1, pp. 43-58

Personal email between Robert Dick und Jennifer Borkowski, Retrieved November15, 2004

Personal email between Carin Levine and Jennifer Borkowski, Retrieved April 16,2008

The Physiology of Plyometrics, http://www.sport-fitness-advisor.com/plyometrics.html, Retrieved February 25, 2008

Plyometric Training Section, http://www.sport-fitness-advisor.com/plyometric.html,Retrieved February 25, 2008

P O E, Carl, L A W S O N, Erik, P R O V O S T-C R A I G, Michelle, P I S T O S,Debbie, Novice, Junoir Senior, Off-Ice Strenght&Jump/Plyometric Yearly TrainingSchedule, U.S. Figure Skating,http://www.usfigureskating.org/content/StrengthSchedule.pdf, Retrieved February25, 2008

P O L I S I Joseph W., The Artist as Citizen, (2005) Amadeus Press, LLC,Pompton Plains, NJ

208

P R I C E, Tim, A Private Lesson with Mark Adler,http://www.dornpub.com/JazzpPDF/addler.pdf, Retrieved February 25, 2008

Pulmonary Health, Exercise and Care,http://www.emphysemafoundation.org:9001/nefusa/pulhthex.jsp#BREATHING,Retrieved February 25, 2008

“Ram”, http://dictionary.reference.com/, Retrieved February 25, 2008

R I C C I, Mike, What Does Periodization Mean and How Does it Work?http://www.trifuel.com/triathlon/triathlon-training/what-does-periodization-mean-and-how-does-it-work-000625.php, Retrieved February 25, 2008

R Ö B K E , Peter, Der Intrumentalschüler als Interpret, Musikalische Spielräumeim Intrumentalunterrich (1990) B. Schott’s Söhne, Mainz

R Ö B K E, Peter, Vom Handwerk zur Kunst, Didktische Grundlagen desIntrumentalunterrichts, (2000) Schott Musik International, Mainz

R O C K S T R O, Georgina M., A Treatise on the Flute, (1976) Longwood Press,Porttlland ME

R U S S E L L, Harriett, Getting away without going away: Yoga and stressmanagement, http://www.yogasite.com/bhumi-away.htm, Retrieved February 25,2008

S A L M O N, Paul G. and M E Y E R, Robert G., Notes from the Green Room,Coping with Stress and Anxiety in Musical Performance (1992) Lexington Books,New York

Sample One-Year Periodization Training Schedule, U.S. Figure Skating,http://www.usfigureskating.org/content/PeriodizationSchedule.pdf, RetrievedFebruary 25, 2008

S C H E C K, Gustav, Die Flöte und Ihre Musik, (1981) VEB Deutscher Verlag fürMusik, Leipzig

S C H E I B, Christian, Über Beat Furrer (2001)http://www.baerenreiter.com/html/zeitgen/furrer/zitatfurrer_1.htm, RetrievedDecember22, 2004

S C H I C K, Steven, Developing an Interpretive Context: Learning BrainFerneyhough’s Bone Alphabet, (Winter 1994) Perspectives of New Music, Volume31, Number 1, pp. 132-153

S C H I F F, David, The Music of Elliott Carter, (1983) Da Capo Press, New York

209

S C H O P E N H A U E R, Arthur, Essays and Aphorisms, (1970) Penguin BooksLtd, London

S C H U L T E R, Margo, Hexachords, solmization, and musica ficta,http://www.medieval.org/emfaq/harmony/hex3.html, Retrieved February 25, 2008

S C H U L T E R, Margo, What is Microtonality?http://members.tripod.com/~tuning_archive/on_site_tree/margoschulter/what_is_microtonality.html, Retrieved February 25, 2008

S C H U L T E R , Margo, Xenharmonic Excursion to Padua, 1318: Marchettus, thecadential diesis, and neo-Gothic tunings, http://www.medieval .org, RetrievedFebruary 25, 2008

S C W A R Z E N B A C H, Peter, and B R Y N E R – K R O N J Ä G E R, Brigitte,Üben ist doof, Gedanken und Anregungen für den Instrumentalunterricht, (2005) 7.Auflage, Waldgut Verlag, Frauenfeld

S C H W I N D T-G R O S S, Nicole, Musikwissenschaftliches Arbeiten, Hilfsmittle,Techniken, Aufgaben, 5. Auflage, (2003) Bärenreiter-Verlag Karl Vötterle GmbH“&Co. KG, Kassel

Self-Testing, Periodization,http://www.computrainer.com/html/manuals/workout/Self_Testing.html, RetrievedFebruary 25, 2008

S E Y L E, Hans, General Adaptiation Syndrome, Annual Review of MedicineVol. 2, (February 1951), pp. 327-342

S E Y L E, Hans, The Story of the Adaptation Syndrome (1952) Acata, Inc. MedicalPublishers, Montreal

S H A P I R O, Jeremy J., Still Searching for Lost Time, Film-Philosophy (July 2005),International Salon-Journal (ISSN 1466-4615) Vol. 9, Number 39

S H E E H A N, Thomas, Hermeneia and Apophansis, the early Heidegger onAristotle (1998) Heidegger et idée de la phénoménologie, Dordrecht: Kluwer pp.67-80

S H E R R Y, Fred, Never Standing Still (March 2002) Contemporary MusicReview, Volume 21, Number 1, Routledge Press

Short-Term Yoga Training Expands Breathing And Lung Capacity Even AmongHealthy Young Adults, The American Physiological Society, April 2006,http://www.the-aps.org/press/conference/eb06/3.htm, Retrieved February 25, 2008

210

S M I T H, Stuart Saunders, To Suffer Music (Winter 1996)Perspectives of New Music, Volume 34, Number 1, pp. 106-114

S O U S T E R, Tim, The Second Viennese School, Pierre Boulez talks to TimSouster (May 1969) The Musical Times, Volume 110, Number 1515, pp. 473-474

S T A N I S L A V S K I, Constantin, An Actor Prepares, (1984) Theatre Arts Books,New York

S T A R E R, Robert, Rhythmic Training (1969) MCA Publishing, New York

S T I F F, Ph.D., Mel C., Periodization Breakdown?http://www.performbetter.com/catalog/matriarch/OnePiecePage.asp_Q_PageID_E_82_A_PageName_E_ArticleSiffPeriodization, Retrieved February 25, 2008

S T R U N K, JR., William, JR., W H I T E, E.B., The Elements of Style, FourthEdition, Allyn & Bacon, Needhman Heights, MASS, 2000

There are few musicians who are truly revolutionary,http://www.newlangtonarts.org/view_event.php?category=Downstairs&archive=1&displayYear=2002&&eventId=32, Retrieved December 16, 2004

T H O M P S O N, Virgil, A Virgil Thompson Reader (1981) Houghton Mifflin,Boston

T O F F, Nancy, The Flute Book, (1985) Oxford University Press, Oxford

T O O P, Richard, Prima le Parole...(On the Sketches for Ferneyhough's CarceriD'invenzione I-III) (Winter 1994) Perspectives of New Music, Volume 32, Number 1pp. 154-175

V O I T, Johannes, Literaturhinweisezu den Themen "Neue Musik" und "NeueMusik vermitteln”, http://www.komponistenforum.de/literaturhinweise-print44.html,Retrieved, February 25, 2008

W A G N E R, Andreas, Zeitgenossische Musik an Hochschulen(Januray/February 2004)Neue Zeitschrift für Musik pp. 16-17

W A T E R M A N, Ellen, Cassandra’s Dream Song, A Literary FeministPerspective (Summer, 1994) Perspectives of New Music, Vol. 32, No. 2. pp. 154-172

W E S S E L, H. U., Transposition of the great arteries, post-operative evaluationby breath-by-breath analysis of ventilation and pulmonary gas exchange duringexercise, (2001) European Heart Journal, Volume 22, pp. 987-989,http://eurheartj.oxfordjournals.org/cgi/reprint/22/12/987.pdf

211

What is Attention?, http://www.deeplistening.org/site/, Retrieved February 25, 2008

W H I T T A L L, Arnold, Holliger at 60, Keeping the Faith (Summer 1999)TheMusical Times, pp. 38-48

W O L F, Daniel, Renewable Music,http://renewablemusic.blogspot.com/2006/11/margo-schulter-neo-medieval-avant-garde.html, Retrieved February 25, 2008

W O L F E, Joe, Flute Acoustics, The University New South Wales,http://www.phys.unsw.edu.au/music/flute/, Retrieved February 25, 2008

W R I G H T, Preston, Harry Partch’s World (February 2003) American PublicMedia,http://musicmavericks.publicradio.org/features/essay_partchworld.html,Retrieved February 25, 2008

W R I G H T, Preston, Just Intonation, (February 2003) American Public Media,http://musicmavericks.publicradio.org/features/essay_justintonation.html, RetrievedFebruary 25, 2008

Z E N D E R, Hans, Die Sinne Denken, Texte zur Musik 1975-2003, edited by JörnPeter Hiekel, (2004) Breitkopf and Härtl, Wiesbaden

212

VII1. Literature for Further Reading

VII.1.a. Resources about the Flute

A R T A U D, Pierre-Yves, Die Flöte (1991) Musikverlag Zimmerman, Frankfurt amMain

B A R T A, Antonio G., Sources of Information on Woodwind Multiphonics: AnAnnotated Bibliography (Winter 1998) Perspectives of New Music, Volume 26,Number 1, pp. 246-256

B L E D S O E, Helen, http://www.helenbledsoe.com, Retrieved April 16, 2008

B O T R O S, Andrew, The Virtual Flute (2001-2005)http://www.phys.unsw.edu.au/music/flute/virtual/main.html, Retrieved February 25,2008

B R U D E R H AN S, Zdenek, Music, the Tectonics of Flute Playing (1997) FlorianNoetzel GmbH, Wilhemlshaven

D I C K, Robert, Circular Breathing for the Flutist (1987) MMB Music Inc. St. Louis,MO.

D I C K, Robert, The Other Flute (1989) MMB Music Company, St. Louis, MO.

D I C K, Robert, Tone Development Through Extended Techniques (1986) MMB,St. Louis, MO. Music Publishing

F O N V I L L E, John, Review, Flûte et Créations: Une approche de la flutecontemporaine basée sur des oeuvres écrites spécialement pour cet ouvrage par15 compositeurs représentant diverses esthétiques musicales actuelles by Pierre-André Valade (September 1993) Persepctives of New Music, Volume 50, Number1, pp.393-395

H E I S S, John, The Flute: New Sounds (Spring 1972) Perspectives of NewMusic, Volume 10, Number. 2, pp. 153-158

H E I S S, John C., Some Multiple-Sonorities for Flute, Oboe, Clarinet, andBassoon (Autumn 1968) Perspectives of New Music, Volume. 7, Number. 1, pp.136-142

213

Kingma System Flutes, http://www.brannenflutes.com/kingma.html. RetrievedNovember 15, 2004

K R A N T Z, Larry, Extended Techniques Resource Page,http://www.larrykrantz.com/et/et.htm#Instructional, Retrieved February 25, 2008

K R A N T Z, Larry, Flute, Frequently Asked Questions,http://www.larrykrantz.com/faqflute.htm, Retrieved February 25, 2008

L E V I N E, Carin, Die Spieltechnik der Flöte, (2002) Bärenreiter Verlag, Kassel2002

L O U K E, Phyllis Avidan, Extended Techniques,http://palouke.home.comcast.net/~palouke/RepExtendedTechniques.htm,Retrieved February 25, 2008

M E N C A R E L L I, Pier Luigi, Metodo per Flauto, Traduzione Inglese di ReginaldSmith Brindle. Bruno Bartolozzi-Nuova Tecnica per Strumento a Fiato di Legno(1973) Edizioni Suvini Zerboni, Milano

N I C O L E T, Aurèle, Pro Musica Nova, Studien zum Spielen Neuer Musik (1973)Breitkopf and Härtl, Wiesbaden

O F F E R MA N S, Wil, For the Contemporary Flutist, Twelve Studies for the Flutewith explanations in the supplement (1992) Musikverlag Zimmerman, Frankfurt amMain

P E L L E R I T E, James J., A Modern Guide to Fingerings for the Flute (June 1,1998) Alfred Publishing Co.

P E R LO V E, Nina, Transmission, Interpretation, Collaboration-A Performer’sPerspective on the Language of New Music: An Interview with Sophie Cherrier(Winter 1998) Perspectives of New Music, Volume 36, Number 1, pp. 43-58

R O C K S T R O, Georgina M., A Treatise on the Flute, (1976) Longwood Press,Porttlland ME

S C H E C K, Gustav, Die Flöte und Ihre Musik, (1981) VEB Deutscher Verlag fürMusik, Leipzig

T O F F, Nancy, The Flute Book, (1985) Oxford University Press, Oxford

W A T E R M A N, Ellen, Cassandra’s Dream Song, A Literary FeministPerspective (Summer, 1994) Perspectives of New Music, Vol. 32, No. 2. pp. 154-172

214

W O L F E, Joe, Flute Acoustics, The University New South Wales,http://www.phys.unsw.edu.au/music/flute/, Retrieved February 25, 2008

215

VII.1.b. Resources on Improvisation

A D O L P H E, Bruce, The Mind’s Ear, Exercises for Improving the MusicalImagination of Performers, Listeners and Composers (1991) MMB Music, Inc., St.Louis, MO.

A D O L P H E, Bruce, What to Listen for in the World (1998) Second LimelightEdition

A L L E N, Susan, Teaching Large Ensemble Music Improvisation (2002), RadicalPedagogy, Produced by ICAAP

P R I C E, Tim, A Private Lesson with Mark Adler,http://www.dornpub.com/JazzpPDF/addler.pdf, Retrieved February 25, 2008

What is Attention?, http://www.deeplistening.org/site/, Retrieved February 25, 2008

216

VII.1.c. Resources on Microtonality

C H R I S T E N S E N, Thomas, The Cambridge History of Western Music Theory(2002) Cambridge University Press, Cambridge, pp. 193-222

D A V I E S, Hugh, Microtonality, Grove Music Online http://www.grovemusic.com,Retrieved November 28, 2004

F O N V I L L E, John, Ben Johnston's Extended Just Intonation: A Guide forInterpreters (1991) Perspectives of New Music, Volume 29, Number 2, pp. 106-137

H E A T H E W A I T E, Andrew, Andrew's Microtonal Listening List, a list ofmicrotonal sounds on the web,http://www.angelfire.com/music2/aah/microtonal/list.html, Retrieved February 25,2008

L I N D H O L M, Herbert , Micro Intervals,http://www2.siba.fi/huiluseura/microintervals.html, Retrieved February 25, 2008

M C L A R E N, Brian, A Brief History of Microtonality in the TwentiethCentury, (Spring 1998) Xenharmonikon, Volume17, pp. 57-110

M E N C A R E L L I, Pier Luigi, Metodo per Flauto, Traduzione Inglese di ReginaldSmith Brindle. Bruno Bartolozzi-Nuova Tecnica per Strumento a Fiato di Legno(1973) Edizioni Suvini Zerboni, Milano

“Mikrotonale Musik“ (2002) Österreichisches Musiklexikon, Kommission fürMusikforschung Verlag der Österreichischen Akademie der Wissenschaften,http://hw.oeaw.ac.at/ml/musik_M/Mikrotonale_Musik.xml, Retrieved February 28,2008

M Ö L L E N D O R F, Willi, Musik mit Vierteltönen (1917) http://sonic-arts.org/monzo/moellendorf/book/contents.htm, Retrieved February 25, 2008

S C H U L T E R, Margo, What is Microtonality?http://members.tripod.com/~tuning_archive/on_site_tree/margoschulter/what_is_microtonality.html, Retrieved February 25, 2008

S C H U L T E R , Margo, Xenharmonic Excursion to Padua, 1318: Marchettus, thecadential diesis, and neo-Gothic tunings, http://www.medieval .org, RetrievedFebruary 25, 2008

W R I G H T, Preston, Just Intonation, (February 2003) American Public Media,http://musicmavericks.publicradio.org/features/essay_justintonation.html, RetrievedFebruary 25, 2008

217

VII.1.d. Resources on Music Pedagogy

A D O L P H E, Bruce, The Mind’s Ear, Exercises for Improving the MusicalImagination of Performers, Listeners and Composers (1991) MMB Music, Inc., St.Louis, MO.

L E H R E R, Paul M., A Review of the Approaches to the Management of Tensionand Stage Fright in Music Performance, Journal of Research in Music Education,Vol. 35, No. 3 (Autumn, 1987), pp. 143-153

M O R N E L L, Adina, Lampenfieber und Angst bei ausübenden Musikern:Kritische Übersicht über die Forschung. Band 14, (2002)„Schriften zurMusikpsychologie und Musikästhetik“, Hrsg. Prof. Dr. Helga de la Motte-Haber.Peter Lang Verlag, Frankfurt a. M.

P O L I S I, Joseph W., The Artist as Citizen, (2005) Amadeus Press, LLC,Pompton Plains, NJ

R Ö B K E, Peter, Der Intrumentalschüler als Interpret, Musikalische Spielräume imIntrumentalunterrich (1990) B. Schott’s Söhne, Mainz

R Ö B K E, Peter, Vom Handwerk zur Kunst, Didktische Grundlagen desIntrumentalunterrichts, (2000) Schott Musik International, Mainz

S A L M O N, Paul G., and M E Y E R, Robert G., Notes from the Green Room,Coping with Stress and Anxiety in Musical Performance (1992) Lexington Books,New York


S C W A R Z E N B A C H, Peter, and B R Y N E R – K R O N J Ä G E R, Brigitte,Üben ist doof, Gedanken und Anregungen für den Instrumentalunterricht (2005) 7.Auflage, Waldgut Verlag, Frauenfeld

S T A R E R, Robert, Rhythmic Training (1969) MCA Publishing, New York

218

VII.1.e. Resources on Periodization and Physical Conditioning

Anaerobic exercise: Energy without oxygen, University of Iowa Healthcare,http://www.uihealthcare.com/topics/exercisefitness/exer3098.html, RetrievedFebruary 25, 2008

B O M P A, Ph.D., Tudor O., Periodization, Theory and Methodology of Training,Fourth edition (1999) Human Kinetics,http://books.google.at/books?hl=de&lr=&id=X1cFhd1SSswC&oi=fnd&pg=RA1-PA1&sig=1j3u1bFh49hfVJHKjM5p8_kayV8&dq=periodization#PPP1,M1, RetrievedFebruary 25, 2008

B O U T E L L I E R U., B U C H E L R., K U N D E R T A., S P E N G L E R C.,Research Studies for Athletes and COPD Patients, Department of Physiology,University of Zurich, http://www.expand-alung.com/Research_Studies/research_studies.html, Retrieved February 25, 2008

C H U, Ph.D., Donald A. Jumping Into Plyometrics, (1998) Second Edition, HumanKinetics Publishers

PSA Coaches Manual, Professional Skater’s Association, (1998) Rochester, MN

Conditioning Aerobic and Anaerobic, U.S. Figure Skating,http://www.usfigureskating.org/content/Conditioning%20Aerobic%20Anaerobic%20Nov%20Jun%20Snr.pdf. Retrieved February 25, 2008

Expand A Lung Breathing Resistance Trainer, -http://www.expand-alung.com,Retrieved March 12, 2008

F R A N K E L, Christopher C., and K R A V I T Z Ph.D., Len Ph.D., Periodization:Latest Studies and Practical Applications,http://www.unm.edu/~lkravitz/Article%20folder/periodization.html, RetrievedFebruary 25, 2008

Interval Training, The American Council on Exercise (2001)http://www.acefitness.org/fitfacts/pdfs/fitfacts/itemid_87.pdf, Retrieved February 25,2008

J A R E T, Peter, A Healthy Mix of Rest and Motion (May 3, 2007) The New YorkTimes,http://www.nytimes.com/2007/05/03/fashion/03Fitness.html?_r=1&scp=1&sq=a+healthy+mix+of+rest+and+motion&st=nyt&oref=slogin, Retrieved April 16, 2008

Periodization, Year at a Glance,http://www.computrainer.com/html/manuals/workout/Table3.html, RetrievedFebruary 25, 2008

219

The Physiology of Plyometrics, http://www.sport-fitness-advisor.com/plyometrics.html, Retrieved February 25, 2008

Plyometric Training Section, http://www.sport-fitness-advisor.com/plyometric.html,Retrieved February 25, 2008

P O E, Carl, L A W S O N, Erik, P R O V O S T-C R A I G, Michelle, P I S T O S,Debbie, Novice, Junoir Senior, Off-Ice Strenght&Jump/Plyometric Yearly TrainingSchedule, U.S. Figure Skatinghttp://www.usfigureskating.org/content/StrengthSchedule.pdf, Retrieved February25, 2008

Pulmonary Health, Exercise and Care,http://www.emphysemafoundation.org:9001/nefusa/pulhthex.jsp#BREATHING,Retrieved February 25, 2008

M A C, Brian, Leg Plyometrics, http://www.brianmac.co.uk/legplymo.htm, RetrievedFebruary 25, 2008

R I C C I, Mike, What Does Periodization Mean and How Does it Work?http://www.trifuel.com/triathlon/triathlon-training/what-does-periodization-mean-and-how-does-it-work-000625.php, Retrieved February 25, 2008

Sample One-Year Periodization Training Schedule, U.S. Figure Skating,http://www.usfigureskating.org/content/PeriodizationSchedule.pdf, RetrievedFebruary 25, 2008

Self-Testing, Periodization,http://www.computrainer.com/html/manuals/workout/Self_Testing.html, RetrievedFebruary 25, 2008

W E S S E L , H. U., Transposition of the great arteries, post-operative evaluationby breath-by-breath analysis of ventilation and pulmonary gas exchange duringexercise, (2001) European Heart Journal, Volume 22, pp. 987-989,http://eurheartj.oxfordjournals.org/cgi/reprint/22/12/987.pdf

220

VII.1.f Resources on the Philosophy and Theory of New Music

A D O R N O, Theodor W., Essays on Music (2002) University of California Press,Berkeley and Los Angeles

B O R O S, James, Why Complexity? (Part Two) (Winter 1994) Perspectives ofNew Music, Volume 32, Number 1, pp. 90-101

C A G E, John, Silence (1961) Wesleyan University Press, Middletown CT.

C H R I S T E N S E N, Thomas, The Cambridge History of Western Music Theory(2002), Cambridge University Press, Cambridge

D E S C H ê N E S, Bruno, Toward an Anthropology of Music Listening (December1998) International Review of the Aesthetics and Sociology of Music, Volume 29,Number 2, pp. 135-153

F E R NE Y H O U G H, Brian, Form-Figure-Style: An intermediate assessment(Winter 1993) Perspectives of New Music, Volume 31, Number 1, pp.33.34

F E R NE Y H O U G H, Brian, Composing a Viable (If Transatory) Self (Winter1994) Perspectives of New Music, Volume 32, Number 1, pp. 32-40

F E R N E Y H O U G H, Brian, B O R O S, James, Shattering the Vessels ofReceived Wisdom (Summer 1990) Perspectives of New Music, Volume 28,Number 2, pp. 6-50

F E R N E Y H O U G H, Brian, The Tactility of Time (Darmstadt Lecture 1988),(Winter 1993) Perspectives of New Music Volume. 31, Number. 1, pp. 20-30

G I L M O R E, Bob, Reconstructing Harry, some current issues in Partchbiography, part 1, http://www.corporeal.com/reconhp1.html, Retrieved February 25,2008

G U C K, Marion , A Flow of Energy: Density 21.5, Autumn 1984,Perspectives of New Music, Volume 23, Number 1, pp. 334-347

L A C H E N M A N N, Helmut, Musik als existentielle Erfahrung 1966-1995, editedby Josef Häusler (2004) Breitkopf und Härtel, Wiesbaden, pp. 114-130

M A S O N, Moya K., An Introduction to Theodor Adorno's Theory of Music and itsSocial Implications,http://www.moyak.com/researcher/resume/papers/var9mkm.html, RetrievedFebruary 25, 2008

221

M O R G A N, Robert P., Twentieth-Century Music (1991) W.W. Norton &Company, Inc., New Haven, CT.

M U L L E R, Theo, 'Music Is Not a Solitary Act': Conversation with Luciano Berio(January 1997) Tempo, Number 199, pp. 16-20

P A L M E R, Peter, Heinz Holliger at 60 (April 1999) Tempo, New Series, Number208, Cambridge University Press, Cambridge, pp. 29-32

P A R T C H, Harry, Original Preface to “Genesis of a Music”, 1947, University ofWisconsin Press,http://musicmavericks.publicradio.org/features/archive_genesis.html, RetrievedFebruary 25, 2008


S C H I F F, David, The Music of Elliott Carter, (1983) Da Capo Press, New YorkStuart Saunders S M I T H, To Suffer Music (Winter 1996)Perspectives of New Music, Volume 34, Number 1, pp. 106-114

S O U S T E R, Tim, The Second Viennese School, Pierre Boulez talks to TimSouster (May 1969) The Musical Times, Volume 110, Number 1515, pp. 473-474

T H O M P S O N, Virgil, A Virgil Thompson Reader (1981) Houghton Mifflin,Boston

T O O P, Richard, Prima le Parole...(On the Sketches for Ferneyhough's CarceriD'invenzione I-III) (Winter 1994) Perspectives of New Music, Volume 32, Number 1pp. 154-175

V O I T, Johannes, Literaturhinweisezu den Themen "Neue Musik" und "NeueMusik vermitteln”, http://www.komponistenforum.de/literaturhinweise-print44.html,Retrieved, February 25, 2008

W H I T T A L L, Arnold, Holliger at 60, Keeping the Faith (Summer 1999)TheMusical Times, pp. 38-48

W R I G H T, Preston, Harry Partch’s World (February 2003) American PublicMedia,http://musicmavericks.publicradio.org/features/essay_partchworld.html,Retrieved February 25, 2008

Z E N D E R, Hans, Die Sinne Denken, Texte zur Musik 1975-2003, edited by JörnPeter Hiekel, (2004) Breitkopf and Härtl, Wiesbaden

222

VIII. Bibliography of Musical Examples

B E R I O, Luciano, Sequenza I Per Flauto Solo, Edizione Suvini Zerboni, Milano,

1958

D I C K, Robert, Circular Breathing for the Flutist, MMB Music, St. Louis, MO, 1985

D I C K, Robert, Flying Lessons Volume I, MMB Music, St. Louis, MO, 1987

D I C K, Robert, The Other Flute, MMB Music, St. Louis, MO, 1986

D I C K, Robert, Tone Development Through Extended Techniques, MMB Music,

St. Louis, MO, 1985

F E R N E Y H O U G H, Brian, Cassandra’s Dream Song, Hinrichsen Edition,

Peters Edition, Ltd., London, 1975

F U R R E R, Beat, auf töneren füssen, page 3, line 1, Bärenreiter, Kassel, 2001

H O L L I G E R, Heinz, (t)air(e), Ars Viva Verlag, Mainz, 1988

H O S O K A W A, Toshio, Vertical Song I, Schott Japan, 1997

H U B E R, Klaus, Ein Hauch von Unzeit, Breitkopf &Härtel, Wiesbadem 1980

I B E R T, Jacques, Concerto for Flute, Alphonse Leduc, 1934

K O R D E, Shirish, Tenderness of Cranes, Neuma Publications, Acton, MASS,

1991

223

L A N G, Bernhard, Schrift I, Zeitvertreib Verlag, Wien/Berlin, 2003

L E V I N E, Carin, Die Spieltechnik der Flöte, Bärenreiter Verlag, Kassel 2002

M E N C A R E L L I, Pier Luigi, Metodo per Flauto, Traduzione Inglese di ReginaldSmith Brindle, Bruno Bartolozzi, Nuova Tecnica per Strumento a Fiato di LegnoEdizioni Suvini Zerboni, Milano, 1973

M E N D E L S S O H N – B A R T H O L D Y, Felix, Ein Sommerachtstraum,Scherzo in Orchester Probespiel Flöte/Piccolo, edited by Christoph Dürichen andSiegfried Kratsch, Edition Peters, Frankfurt

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P E D I N I, Carlo, Il Miracolo, Manuscript, 2003

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S T R A V I N S K Y, Igor, Firebird Suite, Edward F. Kalmus & CO., INC., 1989

Documents

Diss Ext. Techniques