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bass flute Bite for solo bass flute contemporary music extended techniques multiphonics practice

Multiphonics for Saunders Bite

I am very pleased that a number of young flutists are learning Rebecca Saunder’s Bite for solo bass flute. However, I am a bit ashamed that I did not have a good look at the multiphonic table in the earliest versions and insist on alternatives and corrections. Better late than never! Here goes:

Multiphonic table from Saunder’s Bite. Blue circled ones need open holes, the red ones are just wrong.

I’ll address them one by one. However, a preface to all of them in general: you are allowed to make substitutions, if a multiphonic just refuses to speak. Find something similar, or replace it with one of the ones given. I also won’t remark on the microtonal variations, some of the written notes are about a quarter-tone off. Don’t sweat it or try to tune it, just use the fingering if it works.

  1. ok
  2. ok
  3. If you don’t have the open hole, I suggest substituting this one with number 5. If you think of another solution, I am curious!
  4. I think this one was meant:

I would substitute number 5 for this one too, if you don’t have an open hole. However, it is used rarely (I’ll have to check, maybe not at all in the final version).

5. ok

6. ok

7. ok

8. Forget the C# in parenthesis. This one needs to be rolled out quite a bit.

9. ok

10. ok

11. ok

12. If you don’t have an open hole, substitute with 11 or thirteen, depending on what sounds better for you in context.

13. ok

14. ok

Some are really tricky to produce, try rolling way more out or in that you normally would, or experimenting with the position of your tongue. Book a Zoom lesson if you really need help. Good luck and have fun with the piece!

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basics contemporary music exercise books & teaching materials extended techniques harmonics or harmonic multiphonics multiphonics practice technique

Getting Started with Multiphonics

I would like to share the following presentation: Getting Started with Multiphonics – with a deep dive into the harmonic structure of the flute sound. Since this is a work in progress, I will share a link to Google Slides instead of putting the content here. That way you can always view the latest version. Share your feedback, ideas, and corrections in the comment section here on this blog.

Big thanks to Julianna Nickel and her flute studio at George Mason University for inviting me to share these ideas. It was great to bounce around these thoughts, hear questions and receive feedback. Thanks to Studio Musikfabrik for initiating and funding this pedagogical initiative, which will result in a tutorial video scheduled to come out sometime in the Spring of 2021.

https://docs.google.com/presentation/d/1XZQvK567OgoM7MREmTqYzT0j6712FiIURzQJ-AZtrNQ/edit#slide=id.p

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contemporary music pet peeves teaching

Too Many Flutists

The phrases “there are too many flutists today”, and “conservatories are producing too many flutists for too few jobs” may be true in a certain respect, but they really sadden me. And piss me off, if I really admit. It has been hard to put my finger on exactly why, but when a friend posted Seth Godin‘s “Toward abundant systems“, it helped me to put my thoughts in order.

Industrialism is based on scarcity. So is traditional college admissions. In fact, much of the world as we know it is based on hierarchies, limited shelf space, and resources that are difficult to share.

These are his opening words. He goes on to describe which systems thrive on abundance rather than scarcity (language, for example). Then he makes a convincing argument that we need to realize education as an abundant system too, rather than the scarce one that it is today.

He sees this realization as a cultural turning point. I would also like to see a turning point in our musical culture, and its education, as we realize that music, and in my personal argument, flute playing (and by implication earning a living as a flutist) as an abundant system. That means a turning away from the narrow training on offer at most music schools. I believe this narrowness is at the root of “too many flutists”, not the lack of orchestral jobs. Yes, there are too many flutists for too few orchestral jobs.

What lies behind this “too many flutists” statement is the arrogant implication that “in order to be a good flutist, you must win an orchestral audition”. This may be unconsciously arrogant, but nevertheless it is unsupportable. Even more perfidious are those individuals and institutions that attempt to capitalize on the scarcity of orchestral jobs by setting themselves as the elite arbiters of what is the right way or wrong way to play.

Being an orchestral player has a status in its own right. We should refuse to let scarcity define this status.

Yes, aspiring orchestral players need top trainers. But as I have written elsewhere, young players need more.

In closing, I paraphrase Godin’s words: if we can break [musical] education out of the scarcity mindset and instead focus on learning that happens despite status not because of it, then we can begin to shift many of the other power structures in our society.

A shift of power structures means a shift of resources, and that is definitely what the Arts need now!

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