Blog for Flutists and Composers
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Non vibrato and the Book of Disquiet
Still from the film projection “Book of Disquiet”Michel van der Aa On the first of August this year (2010) I had the privilege of performing Michel van der Aa’s “Book of Disquiet” , a multi-media work based on texts of Fernando Pessoa’s “factless autobiography”. We even shared the stage with Klaus-Maria Brandauer , who gave…
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Small-Interval Multiphonics
On the occasion of the publication of my article on Kazuo Fukushima’s Shun-San in Flute Talk May/June 2010 and Robert Dick’s upcoming masterclass in Bremen (July 6, 2010), I’d like to elucidate some ideas about multiphonics. Working on Shun-San got me thinking about small-interval multiphonics (those with an interval of an augmented second or less).…
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Paradies Remembered
It’s been over a month since the marathon premiere of Karlheinz Stockhausen’s Klang cycle. I have been wanting to share the experience here, but I survived the project with too many mixed feelings. However if I don’t get it out, my blogging energy may get permanently clogged. Also, Robert Bigio, the editor of Flute (the…
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Low Register: Descending to Paradise
Countdown: just about one month before my performances (8 in two days!) of Karlheinz Stockhausen’s PARADIES for flute and electronic music. Am I panicking? No. But I have been soundly kicked in the butt. This piece allows for absolutely no technical weaknesses. In addition, I’ve been challenged to really expand my stability, dynamics, and coloristic…
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Just Intonation: Thirds and Sixths, an exercise
I’d like to take the opportunity to write about the benefits of doing intonation exercises with 3rds and 6ths using just intonation. To refine the ear. These are simple intervals, and the difference tone (or combination tone) is strong enough to easily adjust. Flexibility. To make these adjustments, a flutist must be willing to make…
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Tips for Complex Rhythms à la Ferneyhough’s Superscriptio
Below is some advice for works by composers (such as Brian Ferneyhough) who use complex rhythms not based on pulse-centered activity. I spoke with Mr. Ferneyhough about this subject and he was very clear that in his music, the measure is a “domain of a certain energy quotient” not related to a pulse. In other…
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Trouble-shooting problems between composers and performers
There are several categories of potential trouble areas between composers and intstrumentalists:1) Basic orchstration mistakes2) Unfamiliarity (on either side) with a particular extended technique or effect3) Unclear notation What I am about to say may seem a bit didactic and Miss Mannerish, but really, it’s common sense. And as you may gather, I’ve had enough…
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Tips for composing and notating aeolian (air) sounds
Here are some tips on the use of air or aeolian sounds: Be sure to specify if you want these sounds: A. produced in normal playing position, so the air goes across the flute and produces a pitch that corresponds with the fingers (pitched air / aeolian sound), or B. produced inside the flute: i.e.,…