A

!
Modem Guide to Fingerings for the Flute
Revised. Greatly Enlarged 2nd Edition
\ '
J
by
Ja mes J. Pellerite
(formefly, solo flutist, Phila. Orch.)
Indiana University
School of Music
crWo
Zalo Publications RO. Box 913 Bloomington. Indiana 47401
ULlS
",<,"34-0
'P3 '7
107i.J
INDIANA UNIVERSITY
LIBRARIES
BLOOMINGTON
Copyright @ 1972 by James J. Pellerite
Previous Edition Copyright 1964
Library of Congress Catalog Card No. 72-76260
No part of this book may be reproduced
or transmitted in any form without per-
mission in writing from the author.
Printed in the United States of America
INDIANA UNIVERSITY LIBRARY
CONTENTS
INTRODUCTION
HOW' TO READ THE CHARTS
1. BASIC FINGERINGS
6
2. (a) HARMONICS
10
(b) FRENCH MODEL FWTE .11
3. TRILLS (Half Step, and Whole Step) 12
4. TREMOWS
(a) Major and Minor Thirds 18
(b) Perfect Fourths and Tritones 23
(c) Perfect Fifths
28
(d) Sixths, Sevenths, and Octaves 30
5. ALTERED FINGERINGS 39
6. QUARTER-TONES and QUARTER-TONE TRILLS .42
(a) C Flute 44
(b) Alto Flute and Piccolo
48
7. MULTIPHONICS'and SPECIAL SONORITIES.
51
(A) Multiple Trills and Multiple Effects
53
(B) Tonal Characteristics and Dynamic Ranges
59
(C) Suppressed Chords
59
(D) Connecting Single Notes to Multiphonics
60
(E) Fluttering-Multiphonics
61
(F) Singing, or Humming Sustained-Multiphonics 61
[3J
Special recognition must be accorded to Harvey R. Frye,
Supervisor of Graphic Arts, Audio-Visual Center, Indiana
University, for his organizational planning, expert guid-
ance, and aesthetically excellent designing and drawing
of these charts.
-- James J.Pellerite
[4J

1BASIC FINGERINGS

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[6]
Basic fingerings(These should be learned first.)

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BASIC FINGERINGS
1. This fingering produces a slighi/ly lower levelofpitch.
However, its use in extremely technical passages isin-
valuable.
2. Each fingering must be learned with equal facilityand
applied interchangeably. The control ofvarioustechnical
passages, and added dexterity will be dependent upon
this flexibility. When possible, emphasize the use of
the BIever, R.H.
3. The intonation and thin tone structure of the
open can be corrected partially through the use of
this fingering. When using a French model flute, de-
press the key-ring, 2nd L.H., and vent approximately
one-half of the tone hole. This offers more control
in a crescendo.
4. To maintain the proper pitch level when playing PP,
depress the 2nd trill gently, as is needed.
5. See item #1. In this octave the F# is more noticeably
flat in pitch. This fingering is equally useful when
sustaining the note in a .ff ,to adjust the intonation.
6. A level of pitch can be achieved in a ff
when the EP key remains closed. However, the tone
quality becomes muffled at this lower level of pitch
and will necessitate embouchure adjustments.
[7J
BASIC FINGERINGS (CONTJ
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7. When playing.If this fingering produces a lower level
of pitch and an altered tone quality as well.
8. To facilitate the execution of rapid passages, the ED
key may remain open.
9. This alternate fingering will aid the adjustment of the
intonation for a PP. Avoid the use of an excessive vol-
ume of air, as the note responds with ease.
10. This lowers the pitch level for a.lf
11. When using a flute with a iow C foot joint, the little
finger,R.H., is raised.
12. This fingering affords a slightly lower level of pitch.
See item #11.
13. This fingering demands added breath support, but the
resulting pitch level is lower. Use this Blso on a
flute with a low C foot joint.
14. This fingering produces a lower level of pitch, but the
note lacks an immediate response. However, this may
vary on different flutes.
15. These fingerings are applicable when using a low C,
or low B foot joint.
16. When possible vent the tone hole of the 3rd key, L.H.
slightly. This may improve the response of the note.
17. This fingering, as well as #16, will respond on flutes
having a low C, or B foot joint.
A SECURE PLAYING POSITION
The basic elements involving position and balance in
holding the flute properly are of ultimate importanceat
all levels of performance. Much has been written onthis
subject by many prominent flutists. Therefore, only the
salient features relevant to fingerings are repeatednow.
1. Develop a secure hand position, with the arms
remaining free from tension, to form an equal-
ization of balance for the flute.
2. Avoid any cramping of the musculature in hands,
wrists, and arms, which could bring about stiff-
actioned fingers.
3. Encourage the use of a light action with the fin-
gers remainlng on the keys at all times. Added
inflections, or accentuations in the music are
the only occasions for which the fingers may be
raised slightly higher on the keys.
4. Permit the keys to lower and raise with all of
the sensitivity possible. The keys must be lifted,
not the fingers.
5. Maintain a naturally arched position of the fingers.
This signifies the existence of freedom from any
tension. A flexibility and maneuverability of the
fingers should be the result.
Security in a playing position, when achieved, will
bring controllabilitY,and a solid technique with dexterity.
This must be available at any tempo.
[9J
INTRODUCTION
An advanced flutist has reached that performance level
because of the extreme sensitivity with which all facets
of flute technique have been applied. Certainly, one of
the most important of these instrumental techniques has
to be the disciplined approach to the use of proper fin-
gerings. It is assumed that this is a major concern of
the professional performer, but it should be equally so
of each developing flutist.
Too often, due to negligence, undesirable fingerings
become firmly implanted in the playing habits of the young
performers. Correcting these faults in the early stages
of their careers can result in a functional use of finger-
ings, as the flutists progress into the higher levels of
proficiency. This can be evidenced in their execution
of extremely technical passages, as well as the production
of exotic tonal effects.
Learning to use the appropriate fingerings for various
situations ought to be considered a vi tal segment of basic
musicianship, since the application of the correct or cor-
rective fingerings parallels the importance of other flute
techniques. This concept should become a part of each
flutist's daily routine, and hopefully will guide the play-
er in the aspiration of becoming a sensitive musician.
This compilation is presented as a methodology for fin-
gerings, by offering a wide range of selected fingerings
for the flutist and directing their use in diverse tech-
niques. It is hoped that this reference guide will encour-
age an exploitation of the flute's potentialities, which
should be the ultimate goal of every ambi tious student of
the flute.
James J. Pellerite
Professor of Flute
Indiana University
HOW TO READ THE CHARTS
These i n g ~ r i n g s apply to the Boehm system flute with
the closed ~ key. In many instances a low B foot joint
is necessary, although a low C will be acceptable for
many of these fingerings. Auxiliary keys that are some-
times found on specially made flutes have not been con-
sidered. However, the French model flute will be essen-
tial for those charts in which the fingerings call for
venting the various tone holes.
A number appearing next to the illustration for each
fingering will refer to the text material. The corre-
sponding number is followed by a brief statement which
relates to the fingering's purposefulness.
The fingerings have been illustrated using the symbol
(. ), and will indicate only that the keys are depressed.
For this reason, it is not necessary to give considera-
tion to whether or not a key remains open.
The other familiar symbol (0), will apply exclusive-
ly to the use of the French model flute, and be used
solely to signify that a key is to be vented in its en-
tirety.

The key is depressed.
C) The tone hole is vented accordingly.
0 Vent the tone hole in its entirety.
Apply the French model flute.
+
X
Use the D, or D# Trill key.
PI' Pianissimo
.If Fortissimo
R. H. Right Hand
L. H. Left Hand
[5J
2(a) HARMONICS
The production of overtones is a basic technique with which
all flutists must become familiar. Not only does -it represent
the foundation for proper tone production, but also it offers
additional opportunities to simplify many complex technical pas-
sages which occur in the 3rd octave of the flute. The fingering
combinations for such phrases become moderately easy by using
the fingerings for the fundamental notes to produce the harmon-
ics. Created by overblowing the fundamentals these are generally
indicated as follows:
0
.g.
0
.;.. .a.
0
,
.12
0
8
0
&..
To produce D
3
(2nd overtone), use the
for fundamental G
l
; for E
3
, AI; for F
3
, B l' etc.
To overblow the fundamental tone an intense air column
must be applied. This can be formed by diminishing the size
of the aperture and increasing the breath pressure(subsequently
the air speed). The air column needs to be directed more hori-
zontally across the embouchure plate as one progresses into the
higher harmonics. Treating the fundamental tones in this manner
will produce the following overtones in succession:
[see: Overtone Series chart (first measure)]
(a) 1st overtone - octave
(b) 2nd - 12th (octave and a fifth)
"
(c) 3rd - 15th (double octave)
"
(d) 4th 17th (two octaves and a third)
"
(e) 5th
"
19th (two octaves and a fifth)
(0 6th
"
21st (two octaves and a seventh)
Frequently students find it difficult to reach the full gam-
ut of overtones that are shown here. This stems from the fact
that sometimes they lack proper control of the embouchure and
the air column. However, should this not be the case then the
source of the problem may be the existing properties of the head-
joint. It is an accepted fact that no two headjoints ever will
respond alike(even made by the same manufacturer). This vari-
ance means that one flute may possess either more or less resist-
ance in its bloWing characteristics. It is this added resistance
that often may deter the production of the extremely high har-
monics. However, further development of the embouchure is as-
sured as the production of these overtones is attempted and prac-
ticed. The resultant physical capability enables the flutist
to create a greater number of overtones for each fundamental.
With this facility extremely technical passages in the upper oc-
taves are simplified by the use of "left-hand-fingerings", e.g.,
low G, and A, overblown can produce the overtone which would
afford easier performance in a rapid passage of the 3rd octave.
[10]
Due to the acoustical construction of the flute these har-
monics in the 3rd octave possess a rather veiled character of
tone quality and a somewhat lower level of intonation than that
produced when the regular fingerings are used. The presence of
the lower fundamental note causes this phenomenon since the re-
quired vent hole which is normally open in the regular finger-
ing is closed. For example, the regular fingering for D
2
i?
properly vented by raising the 1st key, L.H.; qoa11ty
is muffled and its pitch level lowered when th1s key 1S closed.
In fact so many students accidentally produce this tone quality
by using the incorrect fingerings and are not aware of the result-
ing faulty tone structure. One must discriminate and exercise
discretion as to the use of these nshort cut" fingerings. Often
the tonal beauty of a melodic passage is impaired by the obtuse
sound of harmonics. Their use in performance should be limit-
ed to the most difficult passages in orchestral or band liter-
ature" and even then only in rapidly moving phrases where it
will be detected that harmonic assist has been applied.
On the other hand, there may be a desire for moments of tonal
coloring in isolated cases. Thus, using the tone quality of
some of these notes, the harmonics become a purposeful. and effec-
tive display. They can be used advantageously so long as the
notes are played with conviction and will In actu-
ality, many compositions now call for add1t10nal tonal shad-
ings that are possible when the harmon1cs are properly managed.
The low register fingerings, presented in the.chart on Basic
Fingerings, are applied to the fundamental notes 1n the Overtone
Series chart. As the flutist progresses and studies the charts
for trills, tremolos, etc., he will discover that the application
of the harmonic series will appear inexhaustible.
Overtone Series
0)
Q
.
it. 0
.Q
a.o.

.
. e
A
Q.
'-\ L'
g
'2
..... ". ..... .... ....
.,.
....
.,. .. ... ... ... ... ... .. ..
(0) (b) (c) (d) (e) (f)
@;

'<Ii.
D.
A


#0
.;.. I!A
11&
: I IT 21.

0 0
i.
.. ... *..
... ... lI- j-
:
(2)
0
<Ii.
b.
b.
#.Q.
.A
-
1J..
-& .- -
-

= r
o a
; .. t .. .. .. ..
t 9 k
:
(2)
1 1 : ... .v

,.
I
(3) (5)(6)
(4)
Q

.&
~ ~
..Q
.e-
.a
..Q. ~
~ 6-
~
~ ~ v if R k. iv P V
.. t .. .. .. 'v ~ I
(2)
.
.Q Q
. ~
6-
..0. . ~ ~
~ o
..Q
~
-& "
#.e.
'8 '8
,.

.. V R #V
'0
.9
J. lit lit
a 0
~
~
Note: The following alterations may be applied when
practicing from this chart. These will assist
in performing the upper harmonics with greater
ease, and their physical placement in the oc-
tave would be identified more readily. Follow-
ing a degree of proficiency in the execution
of the harmonic series, these intervals should
be practiced legato[slurred].
1. Vent the 2nd key, R.H.
2. Use the Gn ~ e y
3. Close the EP key.
4. Use the low B key, if available.
5. Close the C key.
6. Close the Cn key.
2(b) FRENCH MODEL FLUTE
Also referred to as the 'open tone hole' model, this flute is
identified by its perforations in the centers of the five keys that
are activated by the fingers. The relevancy of the French model
flute is noteworthy. Its prominence in the flutist's career has
been brought about by a variety of technical applications through
which its advantages seem compounded.
A substantial number of fingerings specifically for this instru-
ment can be learned from these charts that follow. The special fin-
gerings are for purposes of varying the pitch, dynamics, or tone
quality, or any of these in combination. They also will effect a
more realistic pitch relationship in the intervals for trills, or
tremolos, according to the instructions, as may be directed by the
numbered comments.. There are some fingerings that are traditionally
for the closed hole flute. For these, the use of the French model
possibly could be supplemental, to improve upon some of the original
fingerings.
The technique of 'venting' the various tone holes is one that
ought to be introduced to the lesser experienced flutist as soon as
practicable. The astute professional always has recognized the value
of this application. To develop the technique of sliding over the
tone holes, one must emphasize a subtle movement of the fingers with
utmost sensitivity, and vent cautiously for absolute control. Almost
immediately this reveals the ease with which it is possible to exe-
cute a glissando,
of the scale
or a slide[portamento] to, or from, various notes
The left hand fingers should glide away from the flute in an out-
ward motion, while the right hand fingers move in the opposite direc-
tion and towards the key mechanism. This seems to be the most adapt-
able approach to venting. However, since each individual's hand
position is subject to a mUltiformity due to basic differences in
musculature, other methods may be devised, and considered equally
successful. The expertise of an artist teacher will be vital in
considering each situation that is problematical. To vent the hole
by a fraction, the finger is to be moved in a calculative fashion.
The pitch is raised according to the amount of the hole exposed. The
opposite is true when the desired pitch level is to be lowered. By
depressing the key ring by its edge it is possible to vent the en-
tire tone hole. The numbered comments accompanying each chart will
suggest the appropriate venting combinations for each fingering.
The acoustical principle applied to the vented fingerings is
based upon the production of the harmonic series. The overtones,
(see: Overtone Series chart), can be altered conveniently by vent-
ing the fingerings for their fundamental tones. This produces an
array of pitches in a composite of overtones and results in total
flexibility for the ensuing techniques that are to be applied. By
gliding these pitches the notes are altered to possess a wider
range of intonation as well as a broad spectrum of tone content.
This development takes place as the fingerings alter the tube-
lengthsCdistance air column travels] for tone production. These
are either extended or contracted, depending upon the location of
the key being activated and the amount that its tone hole is to be
vented. Also, with these fingerings the resistance factor of the
instrument sometimes is transformed from its traditional response
to an entirely different sensation in the production of certain
notes. Examples of this condition will be discovered when reading
from the charts on tremolos, altered notes, quarter-tones, etc.
These modifications, as provided by the use of the French model
flute, are beneficial in all facets of musical performance, not only
in contemporary music but in the standard repertoire as well.
[llJ

I
TRILLS<HalfStepand Whole Step)

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tr
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-+-1--t---t--+--+-".f-+--t---11 6.
tr I

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EU!I= 1-1 .-+
I I
TRILLS [Half-step and Whole-step]
1.This is possible only with the use of the French model flute.
Depress the 3rd key-ring, R.H., by hooking the thumbnail
underneath and behind the key, trilling the tone hole.
Adequate time is necessary for the preparation of this un-
natural hand position.
2.When possible, begin the trill by using regular F# fingering
(3rd, R.H.) to establish the proper level of intonation.
3.This may be used for added facility when the trill is followed
by the note E. However, the is slightly flat in pitch.
4.This fingering produces a flat BP(A#). It is acceptable in
a If , and its use may facilitate technical passages.
5.Appropriately used for a PP , this fingering produces a higher
level of pitch for C
2
and C
3

6. Use this fingering for a f.f , since a lower pitch level for C
2
and C will result.
3
7.The intonation for C#(DP) is lowered by venting approximately
one-half of tbe tone hole of the 3rd key, L.H.
8.When possible begin the trill by using the regular D fingering
to establish the proper pitch level for the interval.
9. This lowersthe C# for a near correct interval.
10.When possible, lower the 1st key, slightly until the into-
nation and tone quality for D and Di(EP) is improved.
x- Use Trill Key
[l3]

3TRILLS<HalfStep and Whole Step) CONT.

I
tr
1
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1
tr
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tr

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[14J

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f--I I I I

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tr
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O-Depress the key by its edge.
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tr tr
'.'.1111
II. Begin the trill by using the 1st key, L.H., open for
12. F
2
is lower in pitch when this fingering is applied.
13.While using the trill key apply proper tone support to simulate
the tone quality of regular C#. Adjust the direction of the
air column downward.
14.Begin the trill by using regular fingering for D. Then apply
the trill key and proper tone support to sustain a more
correct interval.
15.Depress the 3rd key, L.H., venting the entire tone hole. This
assists in correcting the intonation level for a ff .
16.Begin the trill by using regular fingering for E; then apply
the trill fingering, venting the entire tone hole of the 1st
key, R.H. When playing PP the 3rd key, L.H., is to be vented
slightly during the trill.
17.Almost the entire tone hole of the 2nd key, R. H., is to be
vented. In a pp the tone hole of the 2nd key, L.H., may be
slightly vented while trilling.
[15]
8va---.
3TRilLS<HalfStepand WholeStep)CONT.
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8va---.
tr

f-I+-1lh=-+I-+-1-+1--;1 32.(+)
I.Jr l 11----+-1 -+1=-11 33.

tr
-+1-1..-+1--;1 34.(+)
8va----, I
tr
0-1
I I I.I I I 135.(+)
.t---eJ.--;r)(If-tr-+'I-'l)(1E-+-1-+1-+1-+I---li 36.(+)
:: Jr )(trI I I I I I I
X,?-,:.+r I eA----4l-+r-+1-1 37.
I I
I I I I I I I
I I
8va---,
I I

I

I
I I
tr
I I
I Jr,
I I
I Jr 1

I
f--+----t--<o
I I Xtrl
I I I
I I
X I I
I I
118.
119.(+)
120.
I I
I.I.1121.
I I I
I I I I
I Jr I I
I I I
I I I I
I
122.
I23.(+)
I
124.
I I I I
I I I I25.(+)
I I I I I
......-'
[16]
__ 1
8va---,

---.:I--r--, -iIII.t--t
x 138.
8va--,
.D-. tr. x
--..-+--.jo-:r-+-t.J-I X oJ-+---,f---+--,1 39.(+)
8va---,
tr I tr I
__.......-..+---.. . '---t---e--i
I )( I 1.40
8va--,
tr tr

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

.J>-r ..
1----41.-+-+---+---+--+--+-+--41.40.

I
8va---,
tr tr
-<'+-\-+-+-1--.40.

I
18. Although a basic fingering, this does produce a faulty F#.
19. Vent the entire tone hole of the 2nd key, R.H. If necessary
the interval can be adjusted further by venting the 2nd key,
L.H., while trilling.
20. The tone quality and pitch level of this interval is inadequate
but in a ff this trill is acceptable.
21. This fingering is appropriately applied in a PP. On French
model flutes vent the 1st tone hole, R.H., while trilling, to
execute a secure diminuendo.
22.
To adjust the intonation for a more correct interval, apply
proper tone support.
23. This fingering is useful in a PP Vent the tone hole of
the 2nd key, L.H., according to the desired level of pitch.
24. Although the F# is flat, this fingering is acceptable in a ff.
25. Depress the 2nd key, R.H., to lower the level of pitch for
a .If .
26. Fundamental tones G] and A] are overblown in the production
of this trill. HenCe, a greater amount of tone support is
necessary.
27. Vent approximately one-third of the tone holes of the 2nd key
L.H., and the 1st key,R.H. The intonation for G may be im-
proved by venting the 3rd key, L.H., slightly, during the trill.
28. The A is faulty. Throughout the trill apply firm tone sup-
port to improve upon its tone structure.
29. Begin the trill by using regular fingerings for G# and A.
Then vent the 2nd key, L.H. approximatell one-third of the
tone hole. [appropriately used for a PP J
30. This fingering offers sui table control for a PP
31. Use this fingering in a .ff
32. The tone hole of the 2nd key, L.H. may be vented slightly to
provide for an immediate tonal response in a pp
33. Fundamental tones A] and B
l
are overblown to produce this trill.
It is recommended fOr a ff level only.
34. This fingering is applicable for a softer dynamic level.
Vent the 2nd key, L.H. approximately one-third of the tone hole
35. The problem of coordinating this fingering may effect the tonal
production. Avoid moving the flute while blowing. Vent approx-
imately three-fourths of the tone hole of the 3rd key, L.H.,
and one-half of the tone hole of the 1st key, R.H., or as may
be needed to adjust the intonation for A.
36. The 1st key, R.H. may be vented slightly while trilling, to
raise the pitch level of the BP in a PP
37. This is appropriate for a 17
38. The note C is lower in pitch.
39. The intonation can be improved by vegting the entire tone hole
of the 3rd key, R.H.
40. This trill demands substantial breath support. Apply low C for
flutes without a low B foot joint.
[17]

4(a) TREMOLOS(MajorandMinorThirds)
I I I I1.(+)
I
I I I Jr I 12.
I I

trI
I I 12.
I
tr tr
I I I I I2.
tr
I.I

I H2.
I
I I
I JrI I I I2.
[18J

Jr I I , I 12.
I I I I I I I2,3.
tr
I. I I I I I I 12,3.
I I. I I I r 1--+-1 2.
I I I I I I 12.

tr I

tr

I
.
.t-+---+--'i'1 2.
tr tr I
...---11-+-11--+-1-4......-+---+----11 2.
Jr I -J--+----J--t--..J-t-I---+--il 2
tr tr --1I I I 12
f--i--j-+-t--t--j-..l-t----+--il 2,4.
tr tr I
1--+-4--+--1-+1.....l-t---t--il2.
I

I
I
I

I
I
__-+---..

I
~
tr



tr tr





12,4.
12.
~
--+---.+-H I
xtrl xtrl

I I I
~
tr tr



tr.

tr

12.
15.
16.
~
e---+-+-+--+--1
.-i tr tr I

~
Xtrl xtrl

f-e-I

I

16.
19.
~
~
~
~

4
r
I
tr tr

I
tr
tr tr


I



I
tr
tr I

I
tr

I
tr I
I
tr

tr
I I I

I
()----j

I
tr
l
X
1

I

I I
I I 1
I
X
tr
,
Jr I Xtrl
I I
Xtrl

12,4.
12,7
12,7
16
12.
12.
12.
18.(+)
I
16.
TREMOLOS (Major and Minor Thirds)
1. Firm the hand position by anchoring the little finger,L.H.,
against the flute, and underneath thi G# lever. Then apply
the technique as described for the C -D# trill. [See TRILLS]
2. This fingering also applies to the octave above.
3. Firm the hand position to avoid unnecessary movement of the
flute against the embouchure. The interval will sound more
correct if it is produced with a less intense air column.
4. This fingering affords a secure hand position. The interval
is faulty but may be acceptable at a ff level.
5. The C is flat and will demand the use of greater breath
support.
6. This is appropriately used for a P.P level.
7. To achieve a balanced ~ n d position while executing the
tremolo, depress the G lever.
~




Xtrl
I
~ r I
1
I I

Xtrl

I
16.
8. Apply this fingering at a P.P level only. When using a
French model flute vent approximately one-fourth of the tone
hole of the 3rd key, L.H.
9. Begin the interval with the use of regular fingering for
the lower note; then proceed with the fingering as shown.
[19]

1
4(a)TREMOLOS(Major and MinorThirds> CONT.
~

I
tr tr

I
1
I
1 I
19.
~
tr

tr

I
.,.
I I
.,
,
19
~
Jr
tr tr

I 1 I I I 1
1
19.
@
~
~

Apply lower octave fingerings.
Jr I Jr I
I

I I I I 110.
~

I


I I
Jr I Jr I
tr

I I I II.
'\

I

I
I X
tr
Xtrj
1
112.

~ r I Jr 1
I

I 113.

I

I
~

~
a
~
~
"
~
~

tr

I
, ,

tr I
1

Jr I
~ r I tr

I I

fr
I

tr 1

I
tr tr I
I
tr tr ,
I
tr tr,
tr tr

I
x
tr
I I I ,I
x
tr
I
Xtrl
I
I I X
tr
I
X
tr
,
.1
I
Jr 1
1 I I

I
I

tr
I

X
19.
114.
I I
I 115.(+)
116.
19.
I

I

J9.
I

117.

I I

I18.
I I. 118.
,
I I I I I. I I 119.
[20J

tr trI
f------1-+--+--+--+-.e_f-t-i1 25
__.-II-+-l124.
tr
f----t.t-+I-.-, 20
__+_-+-----1If--a.>-+-+-1 22.
f-+-+---+--+----If--a.>-t-!-+---11 23
__.f--+-.....,........ ---.+--+---ll 20.
1--1-+---+---+--+1--..-+---+-1121.
tr tr

tr tr

tr tr

tr

tr tr

tr tr




tr



8va-----,

8va----,

r
*Xt-1!--+--t-+1 26.(+)
X*-'-1
r
1--+--11--+-1 27.(+)

tr t
1 1 1----1,--t--+-+--i.t-r-+I-e.-t--ll 28.
10. Overblow the fundamentals(D#-F#) at the 12th.
11. Overblow the at the 12th.
12. The D is better in tune as the tremolo is played pp
13. The fundamentals (E-G) are overblown at the 12th.
14. Apply this fingering at a ff level.
15. The fundamentals (F-A) are overblown at the 12th. When
using the French model flute vent the 2nd key,L.U., and
the 1st key,R.U., slightly while trilling. This improves
the intonation and affords control at a pp level.
16. Overblow the fundamentals(F#-A)at the 12th.
17. Overblow the fundamentals(F#-A#)at the 12th.
18. The fundamentals(G-BP) are overblown at the 12th.
19. The fundamentals(G-B) are overblown at the 12th.
20. This fingering is more difficult to coordinate, however it
produces a more correct interval.
21. Overblow the fundamentals(G#-B) at the 12th.
22. Overblow the fundamentals(AP-C) at the 12th.
23. The fundamentals (A-C) are overblown at the 12th.
24. The fundamentals (A-C#) are overblown at the 12th.
25. Overblow the fundamentals (BP-DP) at the 12th.
26. These harmonics are produced by overblowing BP at the
12th and F at the 17th. This fingering is applicable
also when using a closed-hole flute, however the French
model will produce the tremolo with clarity. The tone
holes of the 2nd and 3rd keys, L.U., are vented slightly.
27. Same as #26, but apply the harmonics, B at the 12th, and
F at the 17th.
28. The fundamentals (F#-A) are overblown to produce the
harmonics at the 15th.
4(a)TREMOLOS(Major and MinorThirds> CONT.
8va------,
~

tr

r-ci
r
x
tr
I I I I I I 29.(+)
8va-.
~
8va----,
~ t

tr

tr

tr tr

I I
I I
tr
X I
I I I
I I 131.
1 I 130.
8va----,
~
I
tr tr

I I I I I I 132.
8va----,

I
Jr
l
I I I I I 133.
8va--.

tr tr

I I I I I I
134.
[22J
8va----,
~ r o--e I I I I I I M 35.(+)
f
29. Overblow B
2
to produce the harmonic at the 12th. On French
model l u t ~ s the response of the interval is improved by .
depressing the 1st key ring, R.H.
30. Overblow the fundamentals (G-BP) at the 15th.
31. Overblow C
2
at the 12th to produce G
32. The fundamentals (G#-B) are overblown at the 15th.
33. When using a flute with a B footjoint, depress the low B
key only.
34. Overblow the fundamentals (A-C) at the 15th.
35. On French model flutes depress the 3rd key ring, L.H. The
tonal response when using this fingering may vary with some
flutes; if so, use the EP key instead of low C.
I
I
These charts include as many fingerings as are prac-
ticable in the execution of tremolos involving inter-
valsinfourths, fifths, sixths, sevenths, and octaves.
Those intervals which have been omitted lacked accept-
able fingerings that would offer adequate facility with
the necessary tonal response. Probably these intervals
could be played with a degree of proficiency by using
the regular fingerings, resulting in a superior effect.
Tremolos other than thirds, or fourths, are used in-
frequently, but being knowledgeable in their technical
production would prove most beneficial to the performer.
Their physical demands would add a totally new dimen-
sion to the flutist's technique. Embouchure flexibili-
ty, and the coordination of the fingers are the initial
benefits that accrue from the execution of these wide
intervals.
It will be noted that a resemblance to the regular
fingerings will exist in some of these, and the addi-
tion of the ~ or thumb, or trill, keys serving as
vents, lend an added distinctness to the intervals. In
many instances these keys bring about a response as ef-
fectively as would an octave key on other woodwind in-
struments.
Apart from their function as tremolos, there are nu-
merous advantages which these fingerings offer. The con-
trol of technical passages by applying these as "short"
cut" fingerings, the production of tonal effects in lyr-
ical phrases, or the purposeful application of tone
coloring simply by reiterating these intervals slowly,
are all distinct merits that would contribute to a per-
former's technical skills. However, the individual
situations in present-day repertoire must be researched
experimentally in order to apply the various "fingerings.
These will promulgate a more comprehensible approach
to the application of the harmonic series, as well as
provide for an extended view in the use of the French
model flute.
4(b) TREMOLOSCPerfectFourthsandTritones}

tr
'.11 ,
I I Jr I Jr I
tr tr
I I I. I II.
tr tr
~ I I II.
II.
I
tr I trI trI I I
1---iI .-...I--iIIII.r--+-j.a-t-1II ......-+------1 I.
TREMOLOS (Perfect Fourths and Tritones)
1. Apply these fingerings one octave above.
[23)
4(b) TREMOLOS(PerfectFourthsandTritones)
Cant.
tr tr tr
I I 1 I I II.
I

tr
I
tr
I I I I I 11)2.
tr tr
I I I I 11)2.
tr
I I.I I I I 111 3.
tr
I 1.1.I 1.\ I II.
tr tr
I I.I I I I I II.
tr tr
I I.I I I I I I II.
I 1 I I I I 1 11)5.
I I I I I I J!/- 1L
I I I I I I I II.
~ r I I Jr I I I I I I 11,4.
tr tr

tr tr

tr tr I


I
Xtrl
I

I 16.

tr tr

I I I I I

I 11)7

I
Xtrl

I I

I 16.
.-.

t
tr

tr

tr

I I I I I

I I1)7.
I
Xtrl
I I I I 18.


I
~
tr

I I
I
x

I 19.
~
,
I I .

~ r I
I

I

I

[24J

y
~
~
~
~
~
~
~
~
~

I

19.

tr
I

I I
tr tr

I
tr

~ r I
tr
Jr I
tr
e----1

tr

tr
Apply lower
tr
tr tr

I
Xtrl Xtrl

19.

I

I
tr tr

X
l

110.
I
III.
tr tr
1
I I

III.
tr
Jr Xtrl
1

110
Jr
l
Xtrl
I

I
112.
octave fingerings.
13.
~ r l ~ r l
.trI

1 I

I
~
Apply lower octave fingerings.
~
13.
2. It is acceptable to trill only the G# key for a PP level;
otherwise alternate the trilling of the G# key with the
1st key, R.H.
3. Use an intense air column to produce a more correct tone
quality for A
4. Coordinate the action of both fingers to avoid lagging
the response of the interval.
5. For added facility trill only the 2nd key; however the B
will remain faulty
6. At a pp level this fingering may be acceptable.
7. Although difficult to coordinate, this fingering is
preferred.
8. Adequate breath support, and directed inward, will assist
toward the production of a more appropriate tone quality
for the D.
9. As the upper note is faulty, direct the air column inward
to match the tone quality of the lower.
10. This responds with ease and is suitable for app .
11. The upper note will respond more readily as the interval
is played If .
12. Concentrate on the action of the trill key to ensure clarity.
13. Apply the fingerings given.(See #1)
[25J
4(b)TREMOLOS(PerfectFourthsandTritones>
Cant.
I I 1
1
21.(+)

8va--,
tr tr
lOX I I I 'I 22.(+)

8va-----,
tr tr
I I I
I I I C) x I I23.(+)

8va----,
tr t
tr tr
I .r I I
I I I C( I I23.(+)

8va-----,
tr tr
I I I I I I. I I I
I I

8va---.
tr tr tr tr

I

tr

I

x. I 124.
tr tr tr

x. I 1(+)

8va---,
tr tr
I I

tr

I I x

125.

8va----,
tr tr tr tr
I I I I I. I I 126.
I

x
tr
-+--+--I116.(+)
tr
l
tr
)( I X I. I 117.
trtr
I I X 0 I I I I 1(+)
tr tr tr
..... 19. (+)
1--+1-i)(lrtr-tI-iXlrtr--+I-e.-ilr--+-ll 20.
11--+1-+-1-+I--+--+!- .-JI'--+-;I14.
t---d
r
xtrl I.I 115.(+)
tr trtr
117.(+)



I I xo.I

tr tr
X
tr
, X
tr
,


I

I I
tr tr tr
118.(+)

f-OX I X I

I I

tr
I I I
I Jr I
[26]
I
8va---,

8va----,

I_... __ t r+-
I
-+-+-1.....f-+-j--+-41 27. (+)

8va-----,
Jr.


14. Anticipate the action of the 1st key to avoid a lag in the
response of the interval.
15. In spite of this awkward fingering a ready response is
afforded. Alternate the use of the L.H. keys with those of
the R.H.
16. This is purposeful for a ff .
17. Apply this fingering for a pp
18. Control the action of the trill keys for a clearly defined
interval. Vent also one-half of the tone hole, 2nd key,L.H.
19. Vent the 2nd key, L.H. slightly while trilling to effect a pp
20. This is used for a ff .
21. Vent approximately three-fourths of the tone hole of the
2nd key, R.H.
22. For controllability concentrate on the use of an equal action
with the R.H. fingers.
23. The interval responds best when approximately one-half of the
tone hole of the 2nd key, R.H., is vented.
24. This tremolo, by necessity, will be executed at a slower
speed. Alternate the trilling of the 1st key, L.H., with
the thumb key and the right hand keys simultaneously.
25. This tremolo will need to be executed quite slowly. Alter-
nate the trilling of the G# key with the use of the thumb
and trill key together.
26. Overblow the fundamental at the 12th.
27. Alternate the trilling of the 1st key, L.H., with the use
of the R.H. keys.
28. Alternate the trilling of the 2nd key, L.H., with the use
of the R.H. keys.
29. To correct an F that is faulty, the 2nd key, L.H., may be
vented slightly while trilling.
[27]

4(c)TREMOLOS(PerfectFifths)

i#
I

I I
JrI Jr I
1
tr tr tr
~

1 I
tr
~

I
Jr I

I II.
~
tr

I
I
.1
.,

I I I I

tr tr

I I
.1
e'
e I 1 I
tr tr

I
Jr I
el
1

tr

I
e I
JrI ., .,
12.
tr tr

I
I

I
e I 13.
~ tr tr tr I
1

I

I .1 4
.

~
~
~
-

tr tr tr
I 1

.tr I
I
I

tr
I
tr trI
I
tr tr I
I
e I

I

tr
tr tr
J
I

tr
x
I
15
~ x t
x
tr
,
x
tr
,

I
I I

16.(+}
17.
I I
Xtrl
x
tr
,

1
I
tr trI

I X

I I 18.
I

I I
Xtrl

I I 19.
I I I I I

I I I
I
~ I
tr tr
I

I
1
I I I I I I

I I I

tr

tr
tr tr

I
tr tr

tr

tr

tr

tr

tr

tr

tr
I

o--e
e---jf-----, .,--;.---...
---1\-----, ..-0-0____
tr
1-'.'1
tr
1-41.'-+1----..-4---4----'......-11--+--11 II.

trI
12 .
tr
I I - I
I - - I
ytrl tr
.
I
114.(+)
*tr,
115.(+)
I *tr
l
115,16.(+)
TREMOLOS (Perfect Fifths)
1. This fingering also applies to the octave above. Alternate
the use of the key with the 1st key, R.H.
2. The B is slightly flat.
3. This fingering serves more appropriately for a pp
4. A more correct interval results with this fingering.
5. Apply the use of a large aperture to produce a dispersed air
column iQ using this fingering at a pp level. The impurities
in the thus can be eliminated.
6. This fingering is most appropriately used for a pp The D
may be sharp in pitch.
7. Use a strong air column to assist in the correction of a
faulty D. Alternate the use of the 1st key, L.H., with the
trill key.
8. Avoid the sounding of extraneous notes in the interval by em-
phasizing control in the action of the R.H. fingers.
9. Concentrate on the action of the trill key to secure coordina-
tion with the L.H. keys being trilled.
10. Alternate the trilling of the 1st key, L.H., with the simul-
taneous action of the 3rd key, L.H., and the 1st key, R.H.
11. Avoid moving the flute thereby improving the coordination of
the fingers.
12. The B will respond clearly only if the action of the fingers
is equalized.
13. A slight accentuation of the G will assist in producing the
interval with greater assurance. Alternate the trilling of
the 1st key, L.H., with those of the R.H.
14. Vent the tone hole of the 3rd key, L.H., slightly.and about
of the tone hole, 1st key, R.H., to adequately tune
the Avoid excessive closing of the embouchure.
15. Accentuate the A throughout the tremolo to lend clarity.
16. This fingering produces a controlled pp
~ c TREMOLOS (PerfectFifths)Cont.
17. Vent also one-third of the tone hole, 3rd key, L.H., while
trilling.
18. To ensure a tonal response accentuate the lower note.
19. Vent approximately one-half of the tone hole, 2nd key, L.H.,
to properly tune the D. This is more suited to playing pp
20. Alternate the trilling of the 2nd key, L.H., with those of
the R.H.
21. Apply a low B, if available.
22. An intense air column must be used for this interval. Alter-
nate trilling the thumb key with the 2nd. Although this finger-
ing is awkward the interval responds readily and is enhanced \
further through the use of a low B.
4(d) TREMOLOS (Sixths,Sevenths.Octaves)
~
I
Jr I ~ r I
~

I
tr
I

~

I


tr
I
Jr
l

I
1.
Jr I
.1

I

I 2.
~

tr
tr tr I
~

I

I

I 3.
l

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

tr

tr tr
'.1.1.111.
tr tr
I I I 12.
I
.-i tr tr I
I I I I I 3.

tr
tr tr tr
I
tr
I I , I

tr
I I I I I

I

I
trI

14.


"

I
Jr I

16.
Jr I

I

I
Jr I

I 14.
I
I

I I I I
tr
I I I I I j5.
tr
I I I I I 15.
tr tr

TREMOLOS (Sixths, Sevenths, Octaves)
1. Alternate the trilling of the key with the 1st key, R.H.
2. Although this fingering demands coordination the tonal re-
sponse is aided by the trilling of the 1st key, R.H.
3. The is slightly flat.
4. This hand position provides maneuverability, how-
ever the remains flat in pitch.
5. Direct the air column inward to achieve adequate response
for the low
6. This fingering produces a lower pitch level for
....
[31]

--
I

I I I I

I I I
tr
xtrl
I I X I I 110.
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tr tr
,
X III.
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tr
,
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I 112.
tr tr I

I I I
r I
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I
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I I 113.
tr
tr I JrXtrj

I I 114.
tr
I
Jr I
I
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I I 114,
tr
tr tr I
I tl
r
I I 15.(+)
4(d) TREMOLOS (Sixths.Sevenths.Octaves)
Cont.
~
tr tr tr
I
.,

I
.,
I

I

I
17.
tr tr
I
.,
.1

,
I I
~ -


tr tr tr
~

I

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I I I
tr
tr tr tr
I
I I
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.,
-I
1
~
tr tr

I

~ r l

I I

I I I
tr
tr tr tr
,
I
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I

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I 1
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tr tr
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tr
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I I 1
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I 19.
[32J
~
~
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tr tr
Jr I
I

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r
I
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tr tr tr tr
I 115.(+)

I->

I

I

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rd
r
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I

113.(+)

tr


I

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1

tr
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I 119.
tr tr

,

118.(+)
tr tr
120.(+)

r--r-I I

I

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

7.Avoid moving the flute during the tremolo. Direct the air
column inward to assure response for the D.
8.Alternate the trilling of the L.H. key with the trill key.
The D is faulty. Avoid the lag in response resulting from
the L.H. reacting late. This interval will prove to be
difficult in sustaining a tremolo.
9.The D# is flat and requires added breath support. Alternate
the trilling of the thumb with the trill key. [see #8J
10.This tremolo is more correct in pitch if played softly.
Use a slightly diffused air column to prevent the D from
becoming sharp.
11.This interval must be played louder than #10 for it to be
near in its intonation. Intensify the air column
for the Dli.
12.Use greater breath support to raise the pitch level for D#
13.This interval will be difficult to execute as a sustained
tremolo.
14.Use the ED key to raise the pitch for the upper note if
needed. Alternate the G# key with the simultaneous trill-
ing of the R.H. keys.
15.Alternate the G# key with the trilling of the keys of the
R.U. The upper note is played as a harmonic at the 12th.
Vent approximately one-half of the tone hole, 1st key, R.H.
This tremolo is difficult to coordinate due to the possi-
bility of certain tone holes not being covered adequately.
16.Anticipate the action of the trill key to aid in the proper
coordination.
17.Vent approximately one-half of the tone hole, 1st key, R.H.
while trilling. The clear response will depend upon this
controlled venting.
18.The uppernote is played as a harmonic at the 12th. A breath
emphasis given to this note will assist in its response.
19.Adequate breath support for the F# may paTtially correct its
faulty tone structure.
20. Vent one-third of the tone hole, 1st key, R.H.
The Gli is a harmonic at the 12th. Venting the 2nd key, L.H.
slightly while trilling may add distinctness.
21. Vent the 2nd key, L.H., scarcely while trilling. The upper
note is a harmonic at the 12th.
[33J
r
- - -
tr
-I I I 121.(+)
-
,
--
4(d) TREMOLOS <Sixths.Sevenths.Octaves>
Cont.
-
~
tr
~
tr

I
.-
_I
tr
r--o I
tr
- I
-
- 1
-
I
I
I
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,21.(+)
118.(+)
~
-
I

tr
- o----l
~ 1
-I _I
__ 118.(+)
~
-
I
tr
~
tr
-, -I -I I I
I 22.(+)
-
~
tr
~
tr
-
1

-()-----1
tr I
_I
--I
I
-
tr
tr I
-I I -,
-
121.(+)
122.(+)
-
~
tr
j--() I
_ I - I - - 1
2
3.(+)
tr
~ -I -I -\ I I
124.(+)
~

~
~
~
~
~
~
~
~
~
~
Jr I
tr tr 0-1
.-
~
~
~
~
tr
- .
- -
tr tr

I -, I-
I
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tr
I ,- I I I
Jr 1
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l I
I 124.(+)
I
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I 125.(+)
I 124.(+)
1 121.(+)
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I 127
[34]

2nd. 3rd.
l ~ ~
tr

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tr tr
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tr

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I I
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I 127.
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tr tr tr
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I
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I
I
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I

129.
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tr
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113,30
~
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tr
I 130.

~
tr
tr tr I
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1
X I 113,31.
~
21. Vent the 2nd key, L.H., scarcely while trilling. The upper
note is a harmonic at the 12th.
22. Vent approximately one-half of the tone hole, 3rd key, L.H.
The uppernoteis a harmonic at the 12th.
23. Vent approximately one-half of the tone holes, 2nd key, L.H.,
and 1st key, R.H., while trilling. This produces a ~ har-
monic at the 12th, but on a low C fundamental (vented).
24. Vent approximately one-half of the tone hole, 2nd key, L.H.
while trilling. The upper note is a harmonic at the 12th.
25. Vent one-half of the tone hole, 3rd key, L.H. The A is a
harmonic at the 12th.
26. Also vent approximately one-fourth of the tone hole, 2nd key,
L.H.
27. Favor the embouchure and direction of the air column used
for the lower note throughout the tremolo.
28. The D# will be flat and demanding of full breath support.
29. This interval may be cumbersome as it requires alternating
the trilling of the 1st key, L.H., with the trill key.
30. Direct the air column outward and to further the responsive-
ness of the interval lend a breath accentuation to the upper
note.
31. Alternate the trilling in the L.H. with that of the R.H.
[35J

4(d)TREMOLOS (Sixths,Sevenths,Octaves>
Cont.
I I x
tr
I
I
.1
113131.

tr tr tr

I

I I X I X
I
113.

tr tr
X

I


I I
Xtrl
I
113131.

tr

I

tr
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tr I
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113.

tr tr tr

Jr I

I


x I
/13.

tr tr tr

I


I x
I 113,31.

tr
,

I

I I
I 113131.


I
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tr tr I
I 113,32.
(+)

.X
[36]

I I
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Jrx
tr
I , ..
113
1
33.

1tJ=

8va--.,

8va---,

I

tr tr I

I

I


tr

tr
I I
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I


tr tr

(+)
Jr I
I I

134.
tr tr tr
1
x I H 31.(+)

I
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I H13,35.
(+)


I I

I I
136.(+)
I
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tr
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1
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tr

140.(+}
I42.(+)
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I
tr tr
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r-Jr I I I
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tr tr
e>--e
tr tr

tr tr

tr
..--I--.--.....

tr

8va--,

tr

32. Vent approximately one-half of the tone hole, 3rd key, L.H.
Alternate trilling the key with the simultaneous trilling
of the R.H. keys.
33. The 2nd key, R.H., is vented imperceptibly while trilling.
Alternate the L.H. with the trilling in the R.H.
34. the tremolo by giving breath pulsations to the upper
to benefit the response of the interval.
35. The 2nd key, L.H., is alternated with the synchronized
trilling of the 3rd key, L.H., and the R.H. keys. The 2nd
key, R.H., is vented slightly.
36. Vent about one-third of the tone hole, 1st key, R.H.
37. The 1st key, L.H., is alternated with the trilling of the
R.H. keys.
38. Scarcely vent the 1st key, R.H. The harmonic content of the
G adds to the difficulty in its response. Regular fingering
for this interval might be appropriate.
39. Alternate the trilling of the 1st key with the 2nd.
40. Vent approximately one-fourth of the tone hole, 1st key, R.H.
41. Also vent the 2nd key, L.H. slightly, while trilling.
42. The 3rd key, L.H., and 1st key, R.H., are vented slightly,
according to the dictates of the interval in its level of
intonation and ease of response.
43. Scarcely vent the 2nd key, L.H., while trilling; the 3rd key,
approximately one-half of the tone hole.
[37J

TREMOLOS (Sixths.Seve-nths. Octaves)
5ALTE
Cont.
Nearl
the Fren
of the f
(a) A
(b) A
(c) A

tr

tr

(d) E
(e) A
These
tOnal ef

be most
trasts.

tr tr
tr I I Jr I 14
4.
(I
1-1....
-I
I
Altho
erally i
breath p
pianissi
sitively
notes to
check til
imperati
in balao
tack tha
44. Use the low B key when available.
Alter
45. Vent about one-half of the tone hole, 2nd key, L.H.
special
Hence, t
with eas
46. Alternate the trilling of the 1st key with the 2nd. A firm
action by the 1st finger must be accompanied by a slight
Howev
breath accentuation for the B.
offering
er breat
pitch Ie
clined t
At ti
use of a
followin
suggeste
ness giv
plish th
mended t
fingerill
The adju
to the t
teristid
duct ion
dependcn
tonal sl":
oughly t
completlO

illgS is

44.(+)
tr

tr tr
tr
I 144.
I I I x
tr
I I I 145.(+)
I Jr I I I I
tr

tr

tr

tr C>
I

I
tr

tr

tr

5ALTERED FINGERINGS
Nearly all of these altered fingerings will require the use of
the French model flute. They produce notes possessing two or more
of the following characteristics:
(a) A transparent tone structure
(b) A higher pitch level than with normal fingerings
(c) A variation of timbre
(d) Extreme pianissimo, with sensitively posed adjustments
(e) An added resistance factor for playing fortissimo
These notes retaining a transparency add a new dimension to the
tonal effect, and used with discretion this blending of sound can
be most desirable in phrases that also call for greater dynamic con-
trasts.
Although the amount of breath support needed for these notes gen-
erally is less than for those played with normal fingerings, the
breath pressure should be maintained in the usual manner as for a
pianissimo. The resultant pitch level can be controlled more sen-
sitively with many of these fingerings and the usual tendency for
notes to become flat while playing softly sometimes can be held in
check through their application. When executing these notes it is
imperative that the tongue stroke for the individual attack be used
in balance with the dynamic level. This avoids an overbearing at-
tack that can delay the tonal response of the note.
Altered fingerings for the notes of the third octave will be of
special interest since the breath support for these can be lessened.
Hence, the adjustment in the level of intonation can be accomplished
with ease and flexibility.
However, some of these fingerings produce an opposite effect. By
offering substantially more resistance they permit the use of great-
er breath support in playing a fortissimo. Consequently, a lower
pitch level can be attained for those notes that normally are in-
clined to be sharp. These also possess a different timbre.
At times it may be difficult, or impossible, to coordinate the
use of an altered fingering with that of a preceding note or one
following. In each circumstance the fingering must be applied as
suggested by the accompanying material, and with equal attentive-
ness given to its resulting tone production. In order to accom-
plish the maximum result with a degree of practicality it is recom-
mended that the various possibilities, as offered by more than one
fingering for a particular note, be explored as much as possible. .
The adjustments for these varicolored notes must be made according
to the treatment of the air column and the notes' resulting charac-
teristics. Since each flutist, by nature, will approach tone pro-
duction differently, the v n t i n ~ of the tone holes then will be
dependent upon this phenomenon. The performer's capacity to hear
tonal shadings, nnd minute modificntions of intonntion will be thor-
oughly tested as he nttemllts to develop a technique for venting. A
complete understanding of this proceduJ'e for altering the pitch,
dynamics, and tone quality is vital, and the u.se of special finger-
ings is a vnlued supplement to the interpretive skills that are
essential in the flutist's performance.
This concentration of fingerings, stressing the use of the
French model flute, will serve as an appropriate introduction to
the SUbsequent charts in this book. Many of these fingerings can
be altered further to vent for a more exacting structure of a quar-
ter-tone scale; and because of their relationship with the function
of the harmonic series, they form a fundamental approach in the pro-
duction of multiphonics.
~

.',2.

0-+-0

I1,2.
1,2.
~

1,2.

1,2.
~

o--i ~
.',2.

0-1 f-o

I1,2.

I

.1,2.
0

11,2.
~

o---e

.1,2.



o-e

I1,2

o---e

I1,2.

0 0

I 1,2.
l. Vent the tone holes completely. Apply a wide aperture and use
very little breath support. This will lower the pitch signifi-
cantly, and at the same time produce a light, and transparent
tone structure.
2. Each of these fingerings offers a slightly varied tone quality.
Vent the tone hole(s) as indicated.
[39J
ALL FINGERINGS ARE USED FOR PIANISSIMO UNLESS DESIGNATED BY(*).
5ALTERED FINGERINGS(Cont.)
()

I I I

I 17.
~
15.

x I

I 1,2.
~

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18.

I

I 1,2.
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9.
I H I I I
,

110.
~
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I o---e 12,3.*

I---i> I

8.
I

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4.
tt=

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18.

I ~ I I I I

I I 13.*

~
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e>-e 10.
~ ~

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I

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I I

I 112.
()
I I I I 110.
M-
I

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~

I I

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13.*
I
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I I

I

I I 113.

I

I

I

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I

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I I I /11,14.
I I 0 I I I 17.

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I I 15.
2g

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1 I

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I 113.
I

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I 15.
~

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[40J *THESE ARE USED FOR FORTISSIMO ONLY.

-

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17.
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f-4>

8.


f--O

19.
I

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f-<>


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18,17

18.

19.

110.
118.

I 119.

113.
X
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I18,20.

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113.
X
I

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8,18.

118.*

110
3. This fingering makes possible a dynamic level that is louder
than that produced with regular fingering.
4. Vent the ~ n d key, L.H. slightly.
3. Vent by using the trill key but only according to the desired
level of intonation.
6. Adjust the intonation by venting approximately one-fourth of
the tone hole, 3rd key, R.H.
7. Scarcely vent the 2nd key, ~ H
8. Vent approximately one-fourth of the tone hole, 1st key, R.H.
9. The entire tone hole of the 1st key, R.Il. is vented. Use a
sparse air column for the tone support to be used in maintain-
ing the level of intonation.
10. Vent the tone hole according to the existing level of intonation
while executing 'a diminuendo
II. Vent about one-fourth of the tone hole, 3rd key, L.H.
12. Vent approximately one-half of the tone hole, 3rd key, L.H.
13. Scarcely vent the tone hole of the ~ n d key, L.H. for added con-
trol of the pitch level. This fingering noticeably produces an
immediate tonal response, nnd with tllis a veiled tone quality
is'produced with ease.
14. Vent approximately one-fourth of the tone hole, 3rd key, L.H.
This produces a transparent tonal effect.
15. Vent about three-fourths of the tone hole, 2nd key, L.H. If
this is vented less, the note may be played louder, and a greater
content of harmonics will result in its tone structure The
note will be lower in pitch.
16. Use an extremely soft attack to ensure greater sensitivity in
the production of a light and clear tone structure.
17. Gently raise the 1st key, L.H. slightly. This aids in eliminating
the sound of the harmonic in the tone.
18. The tone hole of the 2nd key, R.Il. is vented completely.
19. This fingering should be applied when a harmonic tone quality is
desired. It is not for purposes of producing subtle dynamics.
The note demands the application of firm breath support. Vent
the tone holes indicated for the necessary adjustments of pitch
20. Also vent the tone hole, 2nd key, L.H. slightly
[41J
Ij
I
5ALTERED FINGERINGS (Cant]

0

118.


...--+-__,---+--__

--1
0

118.*

8va----,
> 119.

I

I
==

I o----t-<>. I 'I 21.

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I I I 22.
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fiF=--.

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........-1
1-0 X I X I I 9, 24.
.

I--t--A-X---t-I ....-.lI--+-j1 *
8va----,


1

j
1*
8va---,

.1.1
-$-

19.This fingering should be applied when a harmonic tone quality ip
desired. It is not for purposes of producing subtle dynamics.
The note demands the application of firm breath support. Vent
the tone holes indicated for the necessary adjustments of pitch.
20.Also vent the tone hole, 2nd key, L.H. slightly.
21. TIle entire tone hole of each key, 2nd and 3rd, R.H. is vented.
Close a portion of the 2nd tone hole, R.H., to adjust the pitch
further if necessary.
22. The (D) trill key is opened gently to raise the pitch. At the
same time vent approximately one-half of the tone hole, 2nd
key, R.H.
23. Use a lip attack for added control of the pitch level.
24. Depress the 0" trill key only slightly for the purpose of
raising the pitch level if needed during the execution of a
diminuendo.
6(a)QUARTER-TONES AND QUARTER-TONE
TRILLS (C Flute)
QUARTER-TONES
To pursue the study of the quarter-tone scale, one may wish to begin
by learning the notes in the chart on Altered Vingcrings. When used ap-
propriately they could establish n general background for the techniques
that are related to this scale. Altered fingerings can produce new tim-
bres that result from certain alterations of the physical properties of
the air column. Such alterations reveal multiple tube-lengths in the air
column of the flute, and are caused by the venting of various fingering
combinations. Tllis is noted wIlen using some of the fingerings for trem-
olos as well as altered lIotes. As an acoustical phenomenon this emerges
with greater prominence as tlw fingerings then arc vented further through
the use of the French model flute. It is by this modification of the fin-
gerings that the tonal responRe is transformed to produce a wide rangeof
[42J
tone colors. Identifying these timbres, and adjusting to their accompa-
nying physical sensations will enhance the performer's adaptabilities in
the development of embouchure control. Also, the application of a posi-
tive approach to the function of the air column will occur with greater
sensitivity.
To establish the scale of microtones(quarter-tones), it is necessary
for these new sounds to be accepted in the traditional sense, and played
with firm conviction. It is a known fact that when the flutist possesses
a well developed tone structure for the semitones; the prevailing intona-
tion also will be appealing. This same standard of performance would ap-
ply, and hopefully should exist, when developing the quarter-tone scale.
Therefore, adjusting to the array of timbres that accompany the various
notes of the quarter-tone scale should become natural, and their tonal
characteristics accepted as being ordinary.
The fingerings included in this chart are based on an elaboration of
the harmonic series. The conventional response of the overtones is al-
tered by venting certain tone holes, which brings about the formation of
the multiple tube-lengths. This departure from the fixed overtone ar-
rangement permits the sounding of the neighboring harmonics and with
this occurrence a chromatic quarter-tone scale can evolve in an organ-
ized manner. The use of these fingerings can bring about a greater flex-
ibility when endeavoring to achieve absolute control of pitch.
The listening required for the proper placement of the microtone in-
tervals is indeed acute and becomes intensified with each effort. This
hopefully ought to assure the guiding of the intervals of semitones.
As the quarter-tones are learned they must be treated as new funda-
mental notes. The tone control for these ought to be developed justas
it has been for the regular semitones, and an understanding of their
placement in the schema will add immeasurably to their eventual evolu-
tion in the production of multiphonics. of pitches, normal-
ly executed by the accepted practice of rolling the headJoint in or out
to alter the direction of the air column, need not be an exclusive ap-
proach to the tempering of the pitches for the microtone scale. Too of-
ten this technique seems unreliable, although in a number of instances
it can prove to be beneficial and will assist in the effectiveness of a
particular fingering.
Frequent adjustments of the embouchure in conjunction with the use
of breath pressure, and the directional change of the air column, will
be necessary for most of the notes. Instructions for such treatment
will be given for each note.
The French model flute is an absolute necessity in the production
of a great many of these notes, since there is no way in which the
closed-hole flute can tune as accurately. The use of only
the basic fingerings can become restrictive and will limit the degree
of variation.
A reeducation in tonal imagery and pitch relationships is vital to
the development of a microtone scale. This could eliminate the aleatory
approach to tuning. Therefore it is imperative that the player should
determine the proper venting of the tone holes for these fingerings by
seeking the correct pitch levels. In fact, as a result of the experience
that was gained by the venting for the notes in the charts on tremolos
and altered fingerings, the flutist now must treat this as an accepted
technique and consider the proper venting to be in balance with the em-
bouchure habits in tone production. Hence, the text material in this
chart will not dictate the amount that the tone hole is to be vented,
since each player varies the basic approach to tone production.
The exclusive use of straight tone is not necessary for these notes
and the application of vibrato certainly is in order. Of course, the
usual considerations would apply for its expression and it should be
used with discretion.
In most cases due to complexities that may be encountered with some
of these fingerings there will be very little dexterity or facility for
rapid passages. Flutists must determine which fingerings will servebest
in a given situation. At the same time, it is assumed that equal con-
sideration will have been shown by composers in their compositional de-
mands, and that the musical structures can be clear of technical hazards.
The notes of the chromatic scale of semi tones have been illustrated
(in parentheses) with the quarter-tones in this chart. To adjust for the
tuning of each microtone properly, the regular semitone should be played
first. Following this, each fingering for each quarter-tone ought to be
tried in order to establish the correct interval as closely as possible.
At the same time one must be attentive to each fingering's tonal char-
acteristics. With this, the player then should react to the resistance
factor which is set up in the flute. This is resolved by recognizing a
physical sensation that is demonstrated by the manner in which the tone
responds. At this time the embouchure should be adjusted accordingly. Re-
calling this experience each time that the fingering is used should re-
sult in the performer cultivating a familiarity with a more definitive
approach to these tones and an anticipation of their prevailing pitch
levels.
Contemporary composers have used a variety of signs and symbols to
indicate the sharps and flats for the quarter-tones. In order to give
this chart readability, arrows extending from the stems of the conven-
tional alterations have been used. These denote that the pitch is
raised or lowered a quarter-step. Although only sharps have been used
here the player must assume that the enharmonic notation would be used
in performance:
At, same as Et, same as ot, etc.
Also, the enharmonic pitches apply as follows:
same as 8f, or A1; ot, or cl, same as etc.
Unquestionably, a great deal of experimentation with fingerings
such as these will result in acquiring added facility in the manner
in which all facets of tone production are studied. Other fingerings
may be conceived for notes of this scale. However, the criteria in-
volving their adaptability will be similar to that already described
in the preceding paragraphs.
QUAIITER-TONE TIULLS
These fingerings create quarter-tone trills, either ascending, or
descending. Many of the notes include the possibility of a trill in
either direction, emanating from the principal note, and are indicated
as such by the text materials. The instructions are given in an abbre-
viated form and are interpreted as follows:
A number and a caPital/The key, or keys / The note this pro-
letter identifying the to be activated duces and its tend-
note "\. /' encies, ifany
Ex.-( 4F / C# key / DOWN to Q )
The flutist may wish to research these fingerings further in as
much as they offer a seemingly limitless display of intervals of var-
ious degrees. Mini-microtones(sixth-tones, or eighth-tones) also are
possible and these will be referred to as pitch-pulsations in the sub-
sequent charts.
[43]




6(a) QUARTER-TONES AND QUARTER-TONE
TRILLS (C Flute) Cont.
IP,IO.
I
C)
1 I
1 I I

I 1 13.

I I I 14.


I

I

I

! I

I

I

I

15.
0
I !

I I I I

I

I 6.
-
e-+.

I

.1,2.

I I f----o I

1

I

17.
C>

I

IA,IB.
I

e

I

I 0

I I 13.
IR. I
/--0 I I I 14.


I

I


I
0 I

I
12.
I I

I

I

I I 14.

I

f----o I

I

I 4.
IC,IO.
I
I 0 I I

I
I 13.




I

I

I

I

I

4.

I

f----o I

I

1I

IE,lFe I r-o 13.
I (U)q"gg
IS,IT I

I

I

I I 14.
IS I I

()
1 I I I

I I 14.
1Ge---l

r-o I

1
3
.
I I

I --t-1 8.
I

I

D---i
I

I

I

II.
IU I
()

I I

1

I

19.

I
IV.
j
IH.

D------i r.-o

I

I

I 14. I

I

I

I 15.


IV.IW. I
IH.

o-------j
I

I

I I

14.

I 5.

IJ.
e

I
I
I

I
14.
fX,IY I
e
e

I ex

I

I 13.
IJ.
5
. e
I
I

I

I

1



I

I

I
()
I 110.

IK,IL.

()----e
I 1 I I I I

I 13. IZ,2A.
I I I 14.



X


I f-O

I

15.
I


o----e
I

I I
ICia) M" 2B,2C.


I

I

I
o 13.
.5.

,

I I

I

15.
I

e

I

x.

I 3.11.
[44J The preferred fingering for each note is illustrated first.

I /:::::0. l_l I I 13.

--
2H.
I I
j
13.

2J.

I
f-c> X I I

la.

o-j

I

112.
I X
0 I 112.

2M.

I I
I

12,13.

()

I I I

I 114.
1. Apply a mlm.mum amount of breath support using a wide aperture.
This note lacks the usual tonal presence of the low register
and its use is limited to extremely soft attacks.
Direct the air column downward to adjust for the level of into-
nation. This effort must be exaggerated when using a low C.
3. This fingering produces a tonal response that is similar to
that of the notes of the tempered chromatic scale of semitones.
A firm breath support may be applied and a resonance, as well
as a variation of dynamic levels are possible.
4. Direct the air column downward in order for the note to attain
as much tone center as possible and a proper adjustment for its
intonation. A light volume of air is applied, but a medium
dynamic level seems possible.
5. Direct the air column upward in order to raise the pitch level.
A large aperture and the use of a dispersed air column will ren-
der a distinct contrast in tone quality for some of the notes.
6. Since there is no suitable fingering for a more accurate tuning
of this note, the air column must be aimed exaggeratedly down-
ward. However, an interesting tone color emerges and a near
correct level of pitch can be attained.
7. If a split-E attachment is available this fingering may be al-
tered to produce a correct pitch level. Otherwise, an unortho-
dox method of.closing the 1st key R.H. is necessary to vent ap-
proximately one-half of the B hole. This seems impractical.
8. This fingering effectively produces a subdued tone quality and
is suitable for a soft dynamic level.
9. The sounding of multiple harmonics in the tone must be elimi-
nated as the key is vented. Attempt to favor the sounding of
the upper pitch.
10. A slight venting of the tone hole, 3rd key R.H. will assist in
the control of the intonation in a soft dynamic level.
11 The 3rd finger R.H. should lean gently on the trill key in order
to vent for the appropriate degree of intonation
12 This fingering serves best when playing loudly. Apply an intense
air column and use as wide an aperture as possible without alter-
ing the tonal standard.
10. The keys of the low B footjoint must be closed securely to pre-
vent any unnecessary venting; otherwise the F# cannot be altered
auequately. Direct the air column upward.
14. The tone holes, as indicated, are to be vented imperceptibly. A
translucent tonal structure is indigenous to most of these
fingerings.
lA I 3rd R.H. I UP to E
IB I key I DOWN to Q#(Sharp)
lC I 2nd R.H. I UP to I"
ID I 3rd R.H. I DOWN to
IE I 2nd R.ff. I DOWN to I"
IF lIst R.H. I UP to 1"#
IG I 2nd &3rd R.H. I DOWN to F
IH I 1st, UP t (.#( I )
and (3rd) R.II. I 0 S WI'P
IJ lIst, 2nd UP to G#
and 3rd R.II. I
lK I 3rd L.H.(vented) I UP to A
lL I G# key I DOWN to
1M I G# key I UP to A
IN I 3rd R.H. DOWN to G#(sharp)
IP I 2nd L.H.(vented) I UP to A#
lQ I 3rd L.H. DOWN to A
(ring only) I
lR I 2nd L.H. UP to C
& 1st R'.H. I
IS I Thumb key I UP to
IT I 2nd &3rd L.H. DOWN to C
(depress key) I I
IV I 1st R.H. I DOWN to
IV I Thumb key I UP to Q
lW I 1st L.H. I UP to Q
lX I
key I DOWN to D
lY I
key I
UP to:J)#
lZ I D Trill key I UP to D#
2A I 2nd L.H.
I DOWN to D
(ring only)
2B I 3rd R.H. I UP to I':
2C I I DO"'N to Q#
2D I 2nd R.H. I UP to F
2E I 3rd R.II. I DOWN to !::.(shllrp)
21" I 1st H.H. I UP to f#
2G I 2nd R.Il.
DOWN to f
(half-vented) I
211 I 2nd R.II. I UP to r::#
2J I D Trill key I DOWN to I"
(sharp)-
2K I 2nd R.H. I UP to Q (sharp)
2L I :)rd R.II. DOWN t ro#
(ring only) I a _
I :)rd H.II. I UP to Q
[45]

8(a}QUARTER-TONES AND QUARTER-TONE

TRILLS(CFlute) Cont.
2N.

0---1 I

I 13.

2P. I I I

114.
-
2a.

1
I

115.

I
4.
m
2
S,2T.
I

o--t f-o

I 13.
2T. 1

r--o

13.

()

I 1
I I

1 114.
2S,2U.
I

o---e I I I I

I 13.
rztt=2.,2W. I 0 I i I I I -t-+-/3.
I I 116.

I
2Y.
I

I I

I
0
I

I I 116.

I I

I
I

I o I
13.
f--(>
I 114.

I
38.
I
Q---j I 116.

I

I(n)qn ..
3C.
I

I I

I

I I I
116.

0--+--1 f-<> I

15.
3D.
I

I f---C>
I

I I I
114.
3E.
I

I
I

13,17
3E,30.
I
0
I I I 13.

I I

I
f
1
t,

1

3Fe
I
1
I
3G.
3H,3J I

3K. I

I I
I

()-e-j
3LI
(.0.) qn 3M,3N I I I

()
I

I
f
3P I

3Q.
f
(#0.)#.n. 3R,3S.

I
3S,3Te
3T.
3R,3S,3U.

3V.
I
3W,3X.

3Y.
(.0.)
3Z.
1
4A.

o--e
()

o--e
I

I
I o--+-J

I
I +---cr--l
,
I

I
t
I I x I I

13.
115.

I I I I x I

I I 118.
1---0 I

I I I 19,19.
I 0 112.
I

I I I3,17.
'r:

I I

I
.j
I

I .x 13.
I
I

I

110.
!
115. I

1 I I x I

13,10.
13. I

13,17.
I
x x
I

I I 116.
I

I
()
I

I I 115.
t---o I I I

119,20.
I I I I I

119.
X
[46J
B"
+

48.

I

112.
4C.
40.




X

I


116.
121.
8
va
I


13.
. 4E,4F.

117.
4G,4F.
8va . 1
rrt5=4H,4J:





I

I


0
0



119.
112.

117.
4JI

()

1-0

117.
8va
I
(-Q:)J-e- ,-e- 4K,4L I
I . 4M,4L I
4Me

()

e

I X
1

X
f---Q X

114.
116,22.
119.
15. This is used advantageously for n pianissimo. The intonation
level is controllnble by venting the tone hole of the 2nd key
L.H. slightly.
16. A firm breath support with a vnrinble volume of air may be ap-
plied to produce a reasonable range of dynamic coloring. The
intonation seems controllable as the flow of air iR directed
upwa,rd.
17. A relaxation of breath pressure seems possible "ith this finger-
ing. The tonal structure is altered nccordingly, and at the
same time a medium range of dynamic level can be controlled.
18. This fingering,will demand coordination when ascending from D,
and again to D#. The pitch level can be controlled by direct-
ing the air co.}umn downward.
19. The tone structure may become excessively airy, but this, as
well as the intonation level, can be corrected by adding sub-
stantially to its breath support.
20. The use of the 3rd key, R.H. aids only in the balanced hand
position. Thus, the application of the fingering, either in
an ascending, or descending paRsage is facilitnted.
21. Overblow the low G at the 15th as softly as possible. The
harmonic content of the tone structure will be of contrasting
quality. The air column must be directed do"nward.
22. To facilitate tuning this note
ly vent the tone hole, 2nd key,
2N / Low C key / UP to
2P / 2ntl H.II. / DOWN to
2Q / )st I\: 2ntl H.H. / UP to
2H / 1 st H.II. / UP to
2S / 1rtl L.II. UP t A
(ring only) / 0
2T / 1st, 2ntl, DOWN to
anti 1rtl R.H. / -
2U / key / DOWN to
2V / 2nd L.H. UP to
(ring only) /
2W / 3rd L.H .
(ring only) / DOWN to A
2X / Low key / DOWN to A
2Y / Low key / DOWN to
2Z / 3rd R.H. / UP to 8
3A / ED key / DOWN to
38 / 3rd L.H. DOWN to A#
(ring only) / -
3C / 1st R.H. / UP to
3D / 3rd R.H. DOWN to _8
(ring only) /
3E / 2nd R.H. / UP to
3F / 2nd & 3rd R.H. / DOWN to C
3G / 1st R.n. / UP to C#(flat)
(ring only)
3H / 1st R.H.
/ DOWN to
(ring only)
3J / Thumb key / UP to #
3K / 1st L.H. / UP to Q
3L / 1st L.H. / DOWN to
at a soft dynamic level, scarce-
L.H.
3L / 1st L.H. / DOWN to
3M / 1st L.H. / DOWN to 0
3N / 0 Trill key / UP to Q#
3P / Low C# key / UP to Q#
3Q / E:D key / liP to 1)#
3R / 1st R.H. / DOWN to 0#
35 / 3rd L.H. / UP to E
3T / 3rd R.H. / UP to E
3U / 1st & 2nd R.H. / UP to
3V / 2nd R.H. / UP to I
3W / 2nd L.H. DOWN t E
(ring only) / 0 _
3X / 2nd & 3rd R.H. / UP to I
3Y / 3rd R.H. / DOWN to
3Z / 1st L.H. / UP to I#
4A / 0 Trill key / DOWN to F
48 / G# key / UP to
4C / Trill key / DOWN to
40 / Thumb key / UP to
4E jIstL.H. / UP to
4F / key / DOWN to G
4G / 3rd R.H. / UP to G#
4H / 1st & 2nd R.H. / DOWN to
4J / 3rd L.H. / UP to
4K / 3rd L.H.(vented) / DOWN to A
4L / 0 Trill key / DOWN to
4M / 2nd L.H. / UP to
[47J
I
I
1
i
i

Sea) QUARTER-TONES AND QUARTER-TONE
TRILLS (C Flute) Cont.
8
va
I
_4N,4PI

r---ox x 123.
40.
I I X I 119.
4N,4R.
I 13,17.

I X

X
8
va
i

I e19.


I
!
451
()---1
x e e 119.

8va
i

4Te

I

X I I .24.
I
e 0---.
f-O I X

124.
it
23. When descending from the regular B, the 1st and 3rd keys, L.H.
may remain closed.
24. This note may be played only at a loud dynamic level. A firm
breath pressure is vital to the control of the intonation, al-
though the note tends to be sharp.
4N / Trill key / DOWN to
4P / 1st H.H.(vented) / UP to B
4Q / 2nd L.H. / UP to
4H / D Trill key UP to _B
and 2nd H.H. /
45 / 2nd H.H. / DOWN to
4T / D Trill key / DOWN to f
[48J
6(b) QUARTER-TONES AND QUARTER-TONE
TRILLS (Alto Flute and Piccolo)
In this chart the fingerings for both the alto flute and pic-
colo are combined. The concepts of tone production and pitch dis-
cernment that were discussed in the preceding section on quarter-
tones for the C flute would apply to these instruments also. Due
to the limitations in venting the fingerings, there will be less
flexibility in the tuning of these notes. In fact, some noiesof
the scale have been omitted because of unsuitable fingering com-
binations and a lack of control for the pitches. However, if an
open-tone-hole model piccolo is available to the player, other
fingerings from the previous chart could be applied. It will be
noted that a great deal of emphasis is placed on the exaggerated
.
change of direction of the air column for the purpose of tuning.
This will compensate for the lack of venting for most of these
notes.
QUARTER-TONE TRIllS
The text materials for these trills are presented here in
the same manner as for those in the previous chart. In some
instances the direction of the air column has to be exaggerated
either upward or downward in order to reach the proper intona-
tion level for a single note in the quarter-tone scale. This
precludes the proper tuning of the quarter-tone trill. When it
occurs, the smaller interval that results is termed a "pitch-
pulsation". However, prior to playing the trill, special effort
must be made to tune the quarter-tone from which the trill is
to emanate; otherwise even the small interval(pitch-pulsation)
will be nonexistent. Occasionally, when only one fingering is
given for both instruments, the text will indicate the instru-
ment for which the trill fingering is intended.

e

I

I

e
I I.@

,
e



I

I

12.@
- ALTO FLUTE
,j

f
IA.

IA.
Sb
+

IQ I

!. The little finger n.lI. must open the I':P key and at the same
IS. time close the foot,joint keys. The air column must be di-

/3.0


rected dowm"arct to lower the pitch .1 eve!.
IS.

12.
2. Exaggerate the ctowlllVilnl directioll of' the njr column. The ap-
erture must relilain opcn ttl" possj.\) 1c, ot!lerwj.se the tone
structure becomes sllppl'csi:<ed. This f'i lIf.';er'inf.'; more appro-
IC.

13 priate for il sort ,1Ild subdued ef'rcct.

IC.

14. 3. Apply the techniques, noS .ill #')
-, nlll! u:--(.' vcr'y I. it tIc volume
of air. This note milY lack ndeqllnte tOllnl pro,jection.
4. Using very little bl'eilth support, direct the nil' column
I
ID.

12.0
dowm"arct to I'lchieve the lIeceSi:<ary Jevel of' pitch. 1I0wever,
the tone qUilli ty of the lower register 01' the piccolo will
IE.

14.
project substl'lntiillly.
5. Use a slightly 'victe I'lperture ilnd il direction of the air col-
IF. 14.0 umn that is simill'lr to that of the preceding note

IG.
14.
6. Direct the air column downward, but slightly, for the even-
tual adjustment of intonAtion.
7. The air column is directed upward.

IH.
I 15.0
8. It may be difficult to maneuver the fingers adequately, but
IJ.

I. 14. if the trill keys can be scarcely opened, the note can be
properly tuned.
I
(ci)qn@g
IK I


15.0
UP(pitch-pulsation)
IJ I 2nd &3rd L.H. I UP to e
lA I 3rd R.H. I
IK I
14.
lK I Thumb key I UP to
IB I 2nd R.H. I UP to (flat)
lL I Thumb key I UP to D (Piccolo)
Ie I 1st, 2nd'l
IL.
1 16.0
UP to
(sharp)
3rd R.Il.


X

1M I Thumb key I UP to
10 I 3rd R.H. I UP(pitch-pulsation)
IL.

I X

17.0
IN I 1st & 2nd L.H. I DOWN to D
IE I 1st, 2nd, &3rd R.H. I UP to A
IP I D Trill key I UP (pitch-
1M. X X

15.0 IF I 2nd & 3rd R.II. I UP to

Jlulsation)
(flat)
IN,IP I I I X

16.
lQ I 3rd L.H. I DOWN to D"

IG I 3rd L.H. I UP to (flat)

0-
PICCOLO
IH I 2nd L.II. & 1st R.II. I UP to e




-
IS.

I
I
I 12,4.
IT. 16.@

I

I

IT.


I

14.
@

I


X I

IIO.
IU.
17@ g;-QfO

I

I

IU.IV.

I I I

IG.

I

I

I

17.@



I I x I
.
I IIO.@
IY.


I


I

I

I 1
2
.
IZ.
I

I

I

\6.@

IZ,2A.
1 I I I

I

I I

I
[50]
I(0.) 2B.

I

I 160
2C,20.
16.
'.
I

I ...Me 2E,2F I I I I I

160

2F,2G I

I I

I

1
6
.

2H I

I
2J.
(ft) I

I

I I
19.0

IR.

I

I
6(b) QUARTER-TONES AND QUARTER-TONE
TRILLS (Alto Flute and Piccolo) Cont.
1
(Ito-) 2M,2N. 17.@
f


I

I
x
2P I
I

I


P


I

I



I 2
(.n.) q.n. 2T.

1

1 I

1I1.@
I

1
X
2U,2V I

I 11r.
8
va
0
i

I 1

I

I
17.0
8va
I
I I I 17,12.


I

8
va
i
I I x 111.0
e;t-E'Cil
D

8va
I
(-&)]-& I
I I

17.@
I
X
8va
I
I I

I I I X X
I I III.@
.'O,3H.

9. Direct the air column as in #2. However, the tone strucure will
permit an acceptable projection at a medium dynamic level.
10. Vent imperceptibly by opening the trill key gently. The air col-
umn should be directed downward only slightly but the aperture
is to be somewhat larger than for the preceding note. Thisfin-
gering serves best when ascending from the regular semitone.
11. This is suitable only for a loud dynamic level. The note de-
mands full breath support and the air column should be direct-
ed upward slightly.
12. The additional resistance that this fingering lends to the
piccolo may cause undue forcing of the tone, unless theperform-
er displays control of the embouchure in this octave. However,
the use of this fingering is not as problematical when apply-
ing it to the alto flute.
lR / 3rd R.H. / UP to P
IS / 1st L.H. / UP(pitch-pulsation)
IT / 2nd R.H. / UP to (Piccolo)
(flat)
lU / 1st R.H. / UP to
IV / 2nd &3rd R.H. /
lW / 1st R.I!. / DOW!\'
IX / 3rd L.H. / to
l / 1st &2nd R.H. /
lZ / 3rd L.H. / UP to
2A / 2nd R.H. / DOWN
DOWN to G
(flat)
to (flat)
A
UP to A
A#
to A
2B / 2nd R.H. / UP to C
2C / "b Key / DOWN to B
2D / 3rd n.H. / UP to C
2E / 1st R.H. / DOWN to C
2P / Thumb key / UP to C#
2G / 1st R.H. / DOWN to C
2H / 2nd L.H. / DOWN to C#
2J / 1st L.H. / UP to D
2K / Eb key / UP to D#
2L / G# key / DOWN to D(Alto flute)
2M / 1st R.H. / DOWN to D#
/
2N / 3rd L.H.
2P / 3rd R.H.
2Q / 3rd R.H.
2R / 1st L.H.
2S / Eb key /
\
/ UP to E
/ UP to E \
/ UP to r (Piccolo)
/ UP to r(Alto flute)
DOWN(pitch-pulsation)
(Piccolo)
2T / D Trill key / DOWN to r
2U / 1st L.H. / UP to P# (flat)
2V / 2nd R.H. / DOWN to P
2W / G# key / UP to G
2X / Low C# key / DOWN to r#
2Y / 1st R.H. / UP to G (Piccolo)
2Z / 1st L.H. / UP to G*
3A / 3rd R.H. / DOWN to G(Piccolo)
3B / 2nd R.H. / DOWN to G
(Alto flute)
3C / G# key / DOWN to G#
3D / 1st L.H. / UP to A (flat)
/ 2nd L.H. / UP to A#
3P / D Trill key / DOWN to A
3G / D# Trill key / DOWN to A#
3H / 2nd R.H. / UP to B (flat)
7MULTIPHONICS AND SPECIALSONORITIES
MULTIPHONICS
No longer can the flutist expect that a traditional flute tone
is the only attractive, or acceptable sound structure. Sound phe-
nomenon must be valued as significant structure which the aspiring
performer must embrace in order to add to the variety of musicalex-
pression in contemporary music. In the various periods of musicthe
goal of each generation's performers has been to enrich and augment
the sometimes restrictive character of the sound of the flute.Hence,
with this standard of excellence in flute playing, the evolution of
compositional techniques has paralleled the instrumentalist's devel-
opment. Accordingly, more and more is expected of the flutist's
technical skills and resources.
The or ani tion of many-voiced sounds is now a vital part of
the technique, ana for this, all of the aspects of tone
-proouc"tion are to be considered. Rultiphonics involve the layerin
developin an understandin of the n use Q ere ones
e over one series of the ! the orma ionof _
muiti:JHe tube-lengtns i'n the air columng e a number 0 requency
vibrations with whic to produce added pitches simultaneously.TOis
affords an array of chord groups that are controllable. Such phe-
nomenon is observed when a short tube-length, and a larger one,are
formed in the air column as additional keys are vented in a finger-
ing combination. This causes a modification of the fixed over-
tone arrangement of the flute.
. The composition of many of the fingerings for the multiphonics v'
be traced directly to those presented for tremolos(especially
sixths, sevenths, and octaves), altered fingerings, and quarter-
tones. Interestingly, many of the quarter-tones can be identified
as fundamental tones for a number of these chords. However, the
fingerings for these have been changed somewhat in order to facil-
itate the tonal response of the multiphonics.
The tonal characteristics of these chords seem to fit into (3)
different categories according to their timbres and dynamiclevels.
They can be studied further by referring to these groups in part
(B) of this section.
The chords illustrated in this chart have included only the
notes that possess a reasonable amount of prominence, stableness,
and immediacy in tonal response. Quite possibly, some performers
may be capable of elaborating on these structures to produce upto
five tones. However, this would require considerable experience
and a phenomenal control of techniques. Except for those few in-
dividuals who have such technical skill, most flutists will needto
devote some practice time to these peculiar techniques.
with for the appro-
priareuse of the air column are an absolute"must w en
with new auditory experiences. As the mUltiple tube-lengths are
felt via the resistance of the flute, the physical reaction tothese
must be repeated in virtually all of these chords. The transforma-
tion of this resistance factor, from its normal state in the flute
tube must be recognized; then, the air column can be effectively
used in balance with this.
Those chords that react readily do so because the resistance is
not posing a major hazard. These,two-note chords.require little
breath support with a slight alteration of the embouchure. However,
[51J
multiphonics that or four notes offer muchgreat-
er resistance. As a barrier, this must be permeated by applyingin-
ensity to e breath pressure, and at times with a large volumeof
air. Consequently, more attention must be given to embouchure cor-
rection for these. Usin a aEertur, the air column needsto
be directed so that a--segment of the flute range can be sounded in
one air blast. By diffusing the air column, the tone is spread,
and thereby capable of including several notes at once. These can
sound simultaneously as a chord, spanning more than one octave of
the flute. All of this is contradictory to the normal procedure
that prevails for playing single-line notes. For these, the aper-
ture needs to decrease in size as the air pressure is increased.
The volume of breath support for a multiphonic is an equally
important matter. The qeterminant is evidenced by the demands for
each multiphonic, and as the player'adjusts to these the physical
sensations that are to be recalled should be used as guidesfor the
proper maneuvering of the embouchure.
The text materials which accompany the fingering for eachchord
suggest the embouchure movements and technical modificationsof the
air column. However, the performance of these sounds cannot be
achieved with only these directives. More importantly, the player
must adapt to these sensitively by "feel", and become accustomed
to reacting to the response of the chord with perceptiveness.
Many of the chords can be sustained with reasonable success,
and sufficient duration. However, vibrato cannot be used because
it would disturb the steadiness of the air flow. Straighttone is
the prime mover in establishing stability for the multiphonics.
It is impossible to effect an instantaneous response from a
chord. In/order to create the illusion that all of the notes are
sounding at the same time, the necessary corrections must occurat
once. These are realized by attacking the lowest note first, or
for some chords, the highest. This method assists in the use of
the wide-angle aim of the air column for an equal response of the
other notes of the tone-group. The effect is one of a brokenchord
as is often played on a keyboard instrument, or the harp. If the
response should lag and the notes of the chord are not soundingin
balance with one another, then those notes that are positioned at
the opposite level from the attacking note, either the lowest, or
highest of the chord must be favored. This is done by directing
the air column toward that level in the range that seems weakest.
The chords have been placed according to their lower fundamen-
tals in ascending order. This is only approximate, and in somein-
stances when these pitches were the same, the total effect of the
chord was considered, although the placement is purely arbitrary.
The arrows on the alterations do not necessarily indicate
quarter-tone pitches. Some of these notes could be mini-micro-
tones. In fact many of these notes may not always impart their
levels as originally conceived in as much as the techniques
of tone production are variable. But this pitch discrepancy also
can be extolled as a virtue since so many notes that have the same
pitch level would also be capable of lending an impressive range
of timbres. When isolating the lowest, or highest note of each
chord, and its intonation seems controllable, a new dimension in
tone coloring can be imagined for any single-line phrase.
[52J
This arrangement of fingerings is not a complete collection of
multiphonics. Rather, it is presented as a systematic study, and
a survey of possibilities for tone clusters. There are fingerings
which have not been included, capable of producing virtually the
same notes as some found in this chart. Probably, there are still
other fingerings that may be ascertainable. However, those shown
here seem to lend substantial control for a clear image of eachmul-
tiphonic and are to be accepted only on this basis. Therefore, once
the flutist has developed the technique for these, additional fin-
gerings, producing new chord structures could evolve through the
efforts of individual research.
The following points may be considered when the multiphonics
are played for the first time. As possible solutions to some prob-
lems that involved technical deficiencies, these applications con-
tributed to the learning process:
Do not isolate the individual tones of the chord as
the direction of the air column is adjusted.
(b)Avoid an excessive covering of the embouchure hole
on the flute, and prohibit the forming of a small
aperture. A diffusion of the air column and a spread-
ing of the tone structure should result.
(c)A low B must be used when advised,otherwise the in-
tervals may not respond with the same assuredness.
(d)A wider than normal aperture must prevail for most
chords. '
(e)The air column must be directed in favor of the oppos-
ing note. If the chord is attacked via the lower note,
then the air is to be directed slightly upward, etc.
(f)Learn to identify the resistance factor first to best
judge the necessary breath support for a response.
(g)Ascertain the proper venting of the fingerings.
(h)Avoid moving the flute on the embouchure. this ensures
a functional application of straight tone.
(j)Minimize the action of the embouchure when it becomes
necessary to adjust the direction of the air column.
Extreme sensitivity is essential.
(k)Avoid any exertion of external pressure of the flute
against the lip. Provide for mobility of the embouchure.
(m) Adapt the embouchure and the air column to the sounds.
Do not attempt to alter the peculiarities of the timbres
so radically, otherwise the idea of having varieties of
tone qualities at hand will be defeated. These chords
must be played convincingly or they will become repulsive.'


-I
SPECIAL SONORITIES
When applying these fingerings,the flutists, and composers,
may wish to explore a variety of sonorities through the use of
the chords. Numerous effects are discussed in these sections
that follow. The position numbers, and code numbers with letters
have been assigned to the multiphonics. These are to be referred
to as each part is consulted for study.
(A) Multiple Trills and Multiple Effects
Control of the multiphonic must be assured for the proper ex-
ecution of these effects. The flute must be held steady to ensure
the adequate dispersion of the air column so as not to obstructthe
sounding of the multiphonic. Practice by moving the fingers slowly
at first in order to achieve a lightness in the action of the keys.
This will prevent a jarring of the flute on the embouchure.
The following are possible, using the illustrated fingerings:
(a) MULTIPlE TRILLS UP, or DOWN--- The lower and upper
notes of a chord trill simultaneously, and in the
same direction.
!
(b) MULTIPlE TRILL - CONVERGING -- One note trills upward
while another trills in a downward direction. This is
created by the sounding of a common note onto which
each trill converges.
(c) Single trills in any direction are possible, while
other notes of the chord sustain.
(d) MULTIPlE PITCH - PULSATIONS -- These account for trills
of microtones,smaller than quarter-tones.
(e) Together with multiple pitch-pulsations, other tones
can be sustained.
The instructions for the above effects have been abbreviated(as
in sections on quarter-tones) and the words,' "lower", "upper", and
sometimes, "middle", refer to the particular notes in the chord.
This is followed by the indication of the direction in which the
trill is moving.
A number and a caPital/The key, or keys The resul tant
letter identifying the to be activated / effect
note
/
Ex.- ( IE / 1st R.H. / Multiple Trill-UP )
tJ) 0
A

I

I I
1.
.0.
(2) --.

I 0

I

.2.

IA.

I

o
13.
-e-
(4) 0 --IS.

I

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IC. 0

I 13.
(6)


f-o

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\(7)f
IE.

1-0

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13.


3.
=--e- 10.
(8)

f---O I

13.
1. Using a wide aperture, direct a dispersed air column downward.
Little breath support is needed. Close the keys for low B with
certainty.
2. Direct the air column upward. Intensify the breath pressure
sufficiently to effect the response of the upper partials, but
allow for adequate openness of the aperture to permit an imme-
diate sounding of the lower note as well. Only a minimum of
breath support is necessary. Close the keys for low
3. Direct the air column downward and adjust the aperture mainly
for the lower notes. Avoid changing the size of the aperture
when adding to the breath support for the upper notes. Close
the keys for low B securely.
lA /
18 /
3rd R.H. / Multiple Trill-UP
Thumb / Upper sustains;
key Middle, trills DOWN IE /
ID /
1st R.H.
3rd R.H.
/
/
Multiple Trill-UP
Multiple Trill
Converging
lC / 2nd R.H. / MUltiple Trill-UP
[53]

7MULTIPHONICS AND SPECIAL SONORITIES
Cont.

(9)
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!
8 8 ! G#
+... +
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IV. I o-l H

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(24) 0

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(26) -IM,IJ.
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(27)rW-IJ,IQ,IYe--1 0 o I I l6.

(28)

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[54]


I sf. Th, Th. 2nd, 3rd.
t

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(38)
2C,2D- I ...., - I
(39)Q:i

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f--o

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19,12

III.
16.
4. Direct the air column upward slightly, and intensify the
breath, using an embouchure that favors the middle register.
5. Adjust the aperture mainly for the lower note and direct the
air column inward. Use only a light tone support.
6. The air column is to be directed upward very slightly, with
the embouchure favoring the upper note.
7. Use a wide aperture with substantial breath support, anddirect
the air column upward.
8. Also vent approximately one-third of the tone hole, 1st key, R.H.
9. Use an aperture more appropriately adapted to the upper notes
but direct the air column downward slightly. Only a medium
amount of breath support is needed.
10. Vent the tone hole of the 3rd key, L.H. imperceptibly.
11. Direct the air column downward and adjust the aperture mainly
for the middle range. This chord is to be supported robustly.
12. Vent about one-fourth of the tone hole, 2nd key, L.H. also.
IF / 2nd R.H. / MUltiple Trill- IX /
(ring only) DOWN
IG / 1st R.H. / Upper sustains; lY /
(ring only) Lower, trills DOWN
IH /
IJ /
lK /
lL /
1M /
IN /
IP /
lQ /
lR /
IS /
IT /
lU /
IV /
lW /
1st R.H. / Upper sustains; lZ /
Lower, trills UP
1st R.H. / MUltiple Trill 2A /
Converging
3rd L.H. / Upper sustains;
Lower, trills UP 28 /
2nd L.H. / Multiple Trill-UP
2C /
3rd R.H. / Lower sustains;
Upper, trills UP
2D /
EP key / Lower sustains;
Upper, trills UP
2E /
3rd L.H. / MUltiple Trill-UP
2F /
2nd R.H. / Lower sustains;
Upper, trills UP
2G /
Low C/ Lower sustains;
(ring only) Upper, trills DOWN
key Upper, trills DOWN
2H / 1st R.H. / Lower sustains;
2nd R.H. / Upper sustains;
Upper,trills UP
Lower, trills UP
'2K / 2nd R.H. / Multiple tones sus-
Low C# Multiple Pitch-
(ring only) tain; Middle notes
key / Pulsations; Middle,
pulsate
trills, UP
2L / 3rd R.H. / Upper sustains;
1st R.H. / MUltiple Pitch-
Lower, trills DOWN
Pulsations; Upper
sustains
2M / 1st R.H. / Lower sustains;Mul-
tiple Trills Con-
EP key / Lower sustains;
verging
Upper, trills DOWN
2N / 3rd R.H. / Multiple Trill-DOWN
G# key / Upper
Lower, trills UP
[55]
Low C#/ Lower sustains;
key Upper, trills UP
G# key / Multiple Trill
Converging
1st R.H. / Multiple Trill
Converging
3rd R.H. / MUltiple tones
sustain; middle
notes pulsate
1st R.H. / Lower sustains;
Upper, trills DOWN
Thumb key / Multiple Trill-UP
2nd L.H. / Upper sustains;
Lower, trills UP
Thumb key / MUltiple Trill-UP
(wide intervals)
2nd R.H. / MUltiple Trill
Converging
2nd R.H. / Lower sustains;

7MULTIPHONICS ANDSPECIAL SONORITIES

07(:::
./
/'
Cont.

(46)1\: -IL 2P20.
19. I I
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.(54)

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(57) I


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f--o
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[56]
(
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2Z. I I

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(61) I I I
(62)
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(64) d-Q-
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(66)
....-....... IM,IP,3KI
/-

(67)\.0-
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tb:a: 3K
(69) =

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1-0

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


E:=- 3K,3Q,3R 1-1
(74)
0

::a:
(75) r----t--.----o-
(76)
3R.3T,3U1-1 e>----J--1

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I I 19.
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7.
I I I
loX I'.I 13.
x. I I 14.
-+---+1 4.
3L /
3M /
3N /
3P /
3Q /
3R /
35 /
3T /
3U /
3Y /
D# Trill/MUltiple Trill-UP
key
2nd L.H. / Multiple Trill
Converging
Thumb key / Upper sustains;
Lower, trills UP
1st R.H. MUltiple Pitch-
Pulsations
3rd L.H. / Lower sustains;
Upper, trills UP
D Trill key / Upper sustains;
Lower, trills UP
G# key / Lower sustains;
Upper, trills UP
3rd L.H. / Lower sustains;
(ring only) Upper, trills DOWN
D# Trill/Upper sustains;
key Lower, trills UP
1st L.H. / MUltiple Trill-DOWN
3W / D Trill/Upper sustains;
key Lower, trills DOWN
3X / 1st L.H. / Upper sustains;
Lower, trills UP
3Y / 2nd L.H. / Multiple Pitch-
(ring only) Pulsations
2P /
2Q /
2R /
25 /
2T /
2U /
2Y /
2W /
2X /
2Y /
2Z /
3A /
3B /
3C /
3D /
3E /
3F /
3G /
3H /
3K /
3rd L.H.
key /
1st R.H.
2nd R.H.
/ MUltiple Trill-DOWN
MUltiple Pitch-
Pulsations
/ Lower, trills UP;
Upper, and middle
interpose
/ Multiple notes
sustain; Middle,
trills DOWN
Low C#/ Lower sustains;
key Upper, trills DOWN
2nd L.H. / Multiple Trill-
(ring only) DOWN
Low C#/ Multiple Pitch-
key
3rd R.H. /
(vented)
3rd R.H. /
3rd R.H. /
1st L.H. /
2nd L.H.
(ring only)
2nd L.H. /
3rd L.H. /
Pulsations
Lower sustains;
Upper, and Middle
interpose
Multiple Tones
sustain; Upper,
tr.ills DOWN
Multiple Pitch-
Pulsations
Multiple Trill-UP
/ Upper sustains;
Lower, trills DOWN
Upper sustains;
Lower, tremolo DOWN
Multiple Trill
Converging
G# key / Multiple Trill-UP
2nd R.H. / MUltiple Pitch-
Pulsations
D# Trill/High C sustains;
key Middle, trill UP
D, and D# / MUltiple Trill-UP
Trill keys
D Trill key / MUltiple Trill-UP
1st L.H. / Upper sustains;
Lower, trills DOWN
[57J

7MULTIPHONICS AND SPECIAL SONORITIES

Cant.
0

I
X I

1
2
.

1 19.

X

I 17.

I I

X 19.

e-.
r-oX I I

I 15.

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r--o
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15.

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o---j X I

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lion xx
IBJR,3H.
I
I

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1I0S)r:D:
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t-e
1I09)r?
2U,3K,3LI
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I I x x I I 115.
rox X I

19,13.
2.
I--c>

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I I I I 17.
I

0 I

I I I II.
1-0 I

I 17,13.
!-o

17,12.
7,8.
f-I

I I 115.
I

I I

14. -
4.
4.
15. Approach the attack for this chord via the top note but widen
the aperture sufficiently to accommodate the placement of the
lowest note. Direct the air column downward, and apply a sUb-
stantial amount of breath support.
4D I 2nd L.H. Lower sustains: 3Z I D Trill I Multiple Trill-DOWN
(ring only) IUpper, trills DOWN
4A I key I Lower
key
4E I Trill I MUltiple Trill-DOWN
Upper,trills uuWN key
4F I 3rd R.H. I Lower sustains;
46 I Trill I Upper sustains;
Upper, trills DOWN
key Lower, trills DOWN
4G I key I Upper sustains;
4C lIst R.H. I Multiple Tri1l-
Lower, trills DOWN
(ring only) DOWN
3PECJAL SONORITIES
(B) The Tonal Characteristics And Dynamic Ranges
of multiphonics are shown here as three predominant effects.
Each chord-group possesses a built-in quality of tone, and the
player should permit this to subsist according to theresistance
that is evidenced. As the control of the embouchure improves,
those chords capable of sounding with a full dynamic range may
also,be controllable using a lighter tone quality and played
at a softer dynamic level. For this reason some chords have
been. listed in more than one category. The numbers used toiden-
tify the multiphonics in the main chart appear here in the appro-
priate categories.
(1) Subdued Quality of Tone;
Reasonably Soft Dynamics
# 1 15 34 65
2
18 37
73
24 54
6
25 55
80
12 26 56 90
13 27 57 91
14 33 64 92
(2) Some Degree of Resonance; (3) Blaring, or Strident Tone;
Medium Dynamic Range Fairly Loud Dynamics
# 4 27 57 74
# 2 37 60 89
5 28 58
75
3
39 62
93
7 29 60 5 94
8 31 61
76
9
41 63
95
9 32 62 80 11 42 70 96
10 33 64 83 16 43 71 97
14 34 65 86 17 44 72 98
15 35 66 90 19 45 77 99
18 36 67 91 20 46 78 100
20 37 68 92 21 47 79 101
22 38 69 93 23 48 80 102
23 40 71 97 26 49 81 103
25 41 72 103 27 50 82 104
26 54 73 106 28 51 84 105
30 52 85 107
32 53 87 108
36 59 88 109
SPECIAL SONORITIES
(C) Suppressed Chords
Often, the term "smorzato" has been used to signify the effect
of diminishing, or extinguishing tones. As is described here,a
controlled suppressing of tones in the chord can occur while the
lowest note continues to sustain. This can be accomplished with-
out altering the fingering.
By releasing the firmness of the embouchure slightly, and per-
mitting the breath support to diminish, the upper partials can be
made to disappear. When in some cases this does not produce the
effect completely, then a directional change of the air column
must implement this technique. Since the modification of the air
column can be regulated voluntarily, the suppression of the chords
can be realized in any desired rhythmic pattern.
In a few instances,another note of the chord can be sustained
simultaneously with the fundamental while the higher one is dimin-
ishing. In other chords, certain notes can be suppressed inter-
changeably. These variables have been indicated in the listing
below. As a result of this added peculiarity these other notes
too can be sustained either prior to, or following the suppression
of the chord. This effect is related to that described in part(D)
of this section.
[59]
In this list, the fundamental note is illustrated togetherwith
the number that applies to its multiphonic. The arrows on the alter-
ations have been omitted. Attention is drawn to the fact that as
an added advantage these tones, for their distinctive timbres, may
be used also as single-line notes.
The following multiphonics are the most responsive and easiest
to control for this effect. Two-note multiphonics are listed first
and are the most facile.
Two-note Chords
# 6 E 27 G# 65 C 91 D
12 G 32 G# 66 C 92 D
13 - G 33 - G# 67 - C 93 - D
14 - G 34 - G# 71 - C 97 - EO
15 - G 52 - So 72 - C 102 - G#
22 - G# 54 - So 73 - C 104 - G#
24 - G# 58 - S 76 - C 107 - S
25 - G# 60 - C 80 - C#
108 - S
26 - G# 61 - C 90 - D 109 C
Three, and Four-note Chords
36 - Low, and middle G#'s will
sustain as the upper note
# 2 - E
3 - E
is suppressed. Alter the
5 - E air column's direction.
8 - F (Middle G#, and possibly 37 - AO
middle E can be alter-
38 - AO (The C, or G, may be
nated with d)
interchanged with the
9 - F sounding of F by alter-
ing the direction ofair)
10 - F (C can be alternated
with F#) 40 - A (C alternates with G#)
11 - F# 41 - A (F alternates with C#)
16 - G 42 - A
17 - G 43 - A
19 - G# (E can be alternated 45 - A
with F#)
46 - A
20 - G#
47 - A
21 G#
48 - A
23 - G#
49 - So (A and B sound simulta-
28 Low, and middle G#'s will neously as the chord is
sustain t o ~ t h t as the suppressed)
upper note is suppressed.
50 - BO and A sustain as the
29 - G# top note is suppressed.
30 - G# 53 - BO
35 - G#
57 - B
[60J
70 - C 87 - D (A can be alternated with
E by releasing the breath
74 - C
pressure interchangeably)
75 - C
88 - D
77 - C
89 - D
78 - C#
94 EO (B can be alternated
79 - C# with GO)
82 - d
98 - EO
99 - E
83 - C# (E alternates with C)
100 - F
84 - D
105 - A
85 - D
106 - B
86 - D (f. can be alternated with
~ by changing the direc-
tion of the air column)
SPECIAL SONORITIES
(D) Connecting Single Notes to MUltiphonics
The suppressing of chords (part C) indicates that it is pos-
sible to sustain a single note and connect this to a chord,assum-
ing of course that the fingering being used initially is that of
the multiphonic. A flexibility in this procedure resultsfrom the
fact that either the lowest, or highest note in each multiphonic
can be sustained when going into, or coming out of the chord. This
occurs without any perceptible interruption of the sound, oralter-
ation of the fingering. However, it will be found that some chords
do not lend themselves to a controllable responsiveness when they
are approached via the highest note. This can only be determined
by trial and error.
The middle note in many of the three-note chords can also be
sustained. The chords listed below have been selected as thosehav-
ing this characteristic, and a few added effects have been noted
with several others. The letter after each number applies to the
middle note of the multiphonic. In the case of four-note chords,
then the note from the middle octave, which may lend the easiest
response is listed. As mentioned previously, it is automatically
assumed that the lowest and highest notes from each chord can be
isolated and sustained without difficulty.
In some instances a radical change in the direction of the
air column, and a simultaneous release of the breath pressuremay
be necessary to effect the linking of tones to chords, portions
of which are then to be suppressed. Only by experimenting with
the process of isolating the tones can the player acquire a fam-
iliarization with the physical sensation involved. This willdic-
tate any modifying of the air column's direction, and maneuver-
ing of the embouchure.
The two-note chords are quite simple to execute in this pro-
duction and either note can be sustained with ease.