Writing Harmonics for Flute – when is a harmonic not a harmonic? Harmonics are great! I love playing them, but I want to mention several common mistakes composers make when using them for flute. Here is the most prevalent – writing harmonics that are too low: The same is true for piccolo too. Another issue, I will call it a misuse rather than a mistake, is writing quiet harmonics in the upper half of the 3rd octave up to the 4th octave. I suspect when composers write high quiet harmonics, they are imagining a sort of color that a violin harmonic can produce in that register: thin, ethereal, a bit breathy, maybe just slightly (and only slightly) out-of-tune. Or perhaps they might believe that a high quiet harmonic is easier to produce than a high quiet regular note. Well, folks, it doesn’t work like that. To get the upper partials on a flute, you have to blow like hell if you want to produce notes with more than 4 ledger lines above the staff. (Someday I will make a funny video on the subject for your amusement.) Now if you have done this as a composer, you are in good company. Berio did it in the Sequenza. Generations of flutists have tossed around different solutions, alternate fingerings, whistle tones, anything to avoid playing a real harmonic fingering! Wolfgang Rihm has done this too. Here are two examples from Nach-Schrift. Once again, the Bb. The D proceeding it works well as a G harmonic. The following G# harmonic is borderline because it starts loudly, then one can change to the normal fingering. The G after that is also borderline. You can see that my predecessor overblew it as a C, but for me that would be too flat. If you have read this far in order to get a hard-and-fast rule, I must disappoint you. I think the 4-ledger-line rule (as seen in the high G above) is a good guideline for my abilities, but there might be other opinions out there. Just please be aware that very high, quiet harmonics on the flute can not match the delicacy of a violin. An experienced player can indeed match such a sound, but will do so not by overblowing a resistant lower partial, but by using a fingering that adds ventilation and reduces resistance. Related Posts Intonation I : Flutonation Trouble-shooting problems between composers and performers Tongue Pizzicato Singing and playing Robert Dick, 22 March 2009 Berio Sequenza, some musings and links Circular Breathing on the Modern Flute Interpretation of Contemporary Music: Finding the Composer’s Voice Composing Articulation for Winds – Tell Me What Bottom of the Food Chain prev next Related PostsMarch 24, 2009 Robert Dick, 22 March 2009November 20, 2014 The True Range of the C FluteApril 26, 2015 Harmonic Exercises, with Articulation too!February 7, 2016 Which extended techniques are harmful to flutes?January 17, 2016 Tempo, Where’s the Hurry?