Since harmonics are produced by overblowing on the flute, the first octave notes cannot be produced as harmonics. They involve a sideways motion of the right hand little finger instead of the quick up-down motion that produces a good trill. Trills: avoid the following trills on the flute. If you have read this far and this high, and are wondering whether to use flute or piccolo, here is a flow chart to help you decide (or give you too many options): The remarks about harmonics in the third octave also apply here. In this range, the flute will be heard, no matter how many ppp‘s a composer writes. If the passage contains sustained notes in this register, piccolo is also better. In ensemble or orchestral music with extended or technical passages in this register, please consider using piccolo. A non-harmful 4th octave technique takes time to develop. Use the fourth octave sparingly, especially when writing for young players. However, if you want a full overblown sound, the harmonics in this register work very well. If you want a special quiet sound, find a special fingering that vents the sound and doesn’t rely on an overblown fundamental. That may be so on string instruments, but from around F or G up in this register on the flute, harmonics require more air and a higher air speed, and are therefore difficult to produce quietly. It is really a color choice.Ī mistake composers often make is to write these notes as harmonics, thinking that this will make them quieter and give them a more détimbré sound. If you want a brilliant sound for sustained notes this register, use flute and not piccolo. The third octave of the flute projects quite differently than the second octave of the piccolo. One assumption composers commonly make is to write loud sustained passages in this range on piccolo instead of the flute, thinking that the piccolo will project more. At the highest latitudes, writing fast passages on piccolo instead of flute can save a flutist hours of practice and physical therapy. It may better to use piccolo, especially if the passage contains rapid notes. However, sustained quiet passages, or dynamics al niente or dal niente can be difficult for the highest notes of this range. The third octave is where the flute can really shine in an orchestral situation. The second octave of the flute doesn’t contain as many caveats, but beware writing these notes as harmonics (see below). Although it technically lies in the second octave, its projection possibilities are limited due to its lack of upper partials in the sound. Debussy used this to great effect in the opening of his L’Après-midi d’un Faune. Because it is the open note of the flute it has a naturally hollow timbre. The middle C# of the flute deserves special mention. A fluid motion from B – C# is not possible because the C/natural roller lies in between the B roller and the C# lever. Consider writing fast passages for these lowest notes on alto flute. Fast passages that are not purely chromatic or scalar can be difficult because they require sideways motion. These are produced by the right hand pinky on the foot joint of the flute. Dynamics are possible and are produced by adding and subtracting the upper partials of the sound.Ī special word about the lowest notes of the flute. Weak in relation to its first partial ( a partial can also be called a harmonic partial or overtone). Projection over other sounds doesn’t come easily in this register. The first octave of the flute has a special timbre due to the fundamental being relatively Range of the Flute and the Characteristics of its Octaves: for a full rant on the subject, read here. For more advice on composing for flute, you can view all entries in the categories: Composing for Flute, or pet peeves. This is a work in progress, so any tips are welcome. Here is a running list of salient points from my separate blog entries together in one place.
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