Seasons, and a Practice Idea

Great for practice breaks

Great for practice breaks

I have been thinking about practicing freely and vacation time from the flute. In the past, I have put the flute down for long periods of time (8 weeks was my longest break, when I was juggling a big decision of where to settle down). However, despite my long vacation time this year I realized how much I enjoy vacation practice when the sun is warm and everyone is relaxed and enjoying themselves. I play a bit, go pick some raspberries, play some more, sit in the sun and read. It is a healthy rhythm that is denied to me under normal circumstances.

When the weather is cold or rainy (like most of the time where I live), I just want to be under a blanket curled up with a cup of tea. When temperatures climb over 20 Celsius (ca. 69 Fahrenheit), most of the people around me start complaining how warm it is, but that is when I come alive and want to actually accomplish something (maybe because I am a snake, according to the Chinese horoscope).

So I took breaks from the flute this summer, but only a few days at a time. Now I face the challenge of a new season with a dizzying amount of pieces to prepare. How can I stay free and relaxed? I took a very simple idea from traveling. When on the road, the simple thing to do is count your bags so you don’t leave them behind. Don’t worry about how big or what color, just count them. In flute practice, I will try to do this with my stress points, just count them. At the moment I have 3, so when I re-take the flute after a break or a breath, or when I stop a passage, I do a count. It is so much simpler than thinking: right shoulder-blade out, left shoulder down, lower back open. Just 1-2-3 and I am aligned again. So stress gets left behind, not good practice habits 🙂

Just for the my records and for those who give a rat’s, here are the pieces I will be performing between the 22nd of August and the 18th of November. (Not including December because I am not sure yet, but there will be concerts!)

Rebecca Saunders – Bite for bass flute (premiere)
Farzia Fallah – Poshte Hichestan (premiere for C flute)

Gordon Kampe – Arien/Zitronen
Tom Johnson – Self Portrait
G. Ligeti – Aventures/Nouvelles Aventures
Frank Zappa – Black Page and other works
Edgar Varese – Ionisation (Castanets and Guiro)
Luciano Berio – Points on a Curve to Find
Steve Reich – Radio Rewrite
Harry Partch – Delusion of the Fury
Hanspeter Kyburz – Danse Aveugle
Toshio Hosokawa – Slow Dance
Michael Finnessy – MuFa
John Cage – 16 Dances
Liza Lim – Tree of Codes (opera)
Claudia Molitor – Walking with Partch
Harry Partch – Li Po “Intruder’ (maybe!)
Michael WertmĂĽller – antagonisme controle
G. Kurtag – Bagatellen
Enno Poppe – Stoff


Intonation Exercises

Here is a compendium of intonation exercises I have written over the years. They require either two players or one player and a sound-generator such as a tuner or an app. (The exception is the “Exchange” exercise.)

These exercises are based on being able to discern and manipulate difference tones, and contain a basic introduction to just intonation.

If you distribute these exercises please give credit where it is due. Have fun!



Composing for Flute, advice and warnings

Here is a running list of salient points from my separate blog entries together in one place. This is a work in progress, so any tips are welcome. For more advice on composing for flute, you can view my entries in the categories: composers, or pet peeves.

Range of the Flute and the Characteristics of its Octaves: for a full rant on the subject, read here.

First_OctaveThe first octave of the flute has a special timbre due to the fundamental being relatively
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. Dynamics are possible and are produced by adding and subtracting the upper partials of the sound.


A special word about the lowest notes of the flute. These are produced by the right hand pinky on the foot joint of the flute. Fast passages that are not purely chromatic or scalar can be difficult because they require sideways motion. Consider writing fast passages for these lowest notes on alto flute. A fluid motion from B – C# is not possible because the C/natural roller lies in between the B roller and the C# lever.

Cis The middle C# of the flute deserves special mention. Because it is the open note of the flute it has a naturally hollow timbre. Debussy used this to great effect in the opening of his L’Après-midi d’un Faune. Although it technically lies in the second octave, its projection possibilities are limited due to its lack of upper partials in the sound.

Second_OctaveThe second octave of the flute doesn’t contain as many caveats, but beware writing these notes as harmonics (see below).




The third octave is where the flute can really shine in an orchestral situation. However, sustained quiet passages, or dynamics al niente or dal niente can be difficult for the highest notes of this range.


One mistake composers commonly make is to write loud passages in this range on piccolo instead of the flute, thinking that the piccolo will project more. However, the third octave of the flute projects much better than the second octave of the piccolo. If you want a brilliant sound for this register, use flute and not piccolo.

Another mistake composers make is to write these notes as harmonics, thinking that this will make them quieter and give them a more dĂ©timbré sound. 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. If you want a special quiet sound, find a special fingering that vents the sound and don’t rely on an overblown fundamental. However, if you want a full overblown sound, the harmonics in this register work very well.


Use the fourth octave sparingly, especially when writing for young players. A non-harmful 4th octave technique takes time to develop. In ensemble or orchestral music with extended or technical passages in this register, please consider using piccolo. If the passage contains sustained notes in this register, piccolo is also better.

In this range, the flute will be heard, no matter how many ppp‘s a composer writes. Loud dynamics only. The remarks about harmonics in the third octave also apply here.

Trills: avoid the following trills on the flute. They involve a sideways motion of the right hand little finger instead of the quick up-down motion that produces a good trill.




Since harmonics are produced by overblowing on the flute, the first octave notes cannot be produced as harmonics. The E-natural, F and F-sharp in the second octave are not available as harmonics because the fingering is the same in the first octave as in the second. They are already harmonics.

As mentioned above, quiet harmonics are difficult above the upper third register. If you want quiet, especially sustained sounds with a special timbre, consider using alternate fingerings rather than true harmonics. Read why here.

Multiphonics:  Basic guidelines:

  • write the fingering (or for extended passages where this will clutter the notation, provide the fingering in the performance instructions).
  • use an intuitive template for writing the fingerings, such as those in Robert Dick’s The Other Flute.
  • unless you are a flutist yourself, I would not advise using online resources such as  The Virtual Flutist. When a resource shows every single pitch that can be produced by a certain fingering, it doesn’t necessarily follow that a multiphonic can be created from these pitches. Try it with a live player before trusting a theoretical projection of the flute’s acoustic response.
  • if you want to give the flutist a choice of multiphonics based around a certain pitch, Mbeware that the lowest pitches will produce only harmonic multiphonics. The second measure, the C in the second octave, gives more inharmonic possibilities than the first.
  • take care of the surrounding dynamics in an ensemble situation. The flutist has to be able to hear him/herself well enough to produce these sounds accurately.

For Q & A about writing for mulitphonics, read here.

Jet Whistle: A really high-powered jet whistle needs time and quite a bit of air to set up. For best effect, have a rest (ca. one second) before and after a jet whistle. It is too often that composers think of a jet whistle as a kind of climax or punctuation after a phrase, as in the following example. But there are two problems: 1) There is no time to set the embouchure 2) There is no time to breathe. It bears repeating, if you want a full force jet whistle, give the player time to set it up.


Harmful things:

  • Slamming hands onto the key work. A key click is OK.
  • Immersing part of the flute in water.
  • Closed embouchure techniques on wooden mouthpieces. (Tongue ram, jet whistle, etc.)  Saliva contains enzymes that will degrade the wood over time.
  • Extreme temperatures.

Some pet peeves:

  • Using empty note heads to indicate air or aeolian sounds. Please see my tips on this subject.
  • Extended techniques stacked up on top of one another. It is easy to think that this will make the sound more interesting and intense. Some techniques cancel each other out and just muddy the waters. Better to pick a few that work acoustically well together.