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!

bass flute Bite for solo bass flute

Bite by Rebecca Saunders

This is a cross-posting from Musikfabrik’s BLOG

In Bite for solo bass flute, Rebecca Saunders attempts a special synthesis of speech and bass flute sound that I have not encountered in the repertoire so far. Unlike most works that use the voice and the flute, the voice is not relegated to a singing or narrating role. The phonemes of speech are used to shape elements of the flute sound, much like an ADSR envelope shapes the amplitude and filter of a synthesizer’s oscillator. This what I call speech-gesture language was developed during our work on her ensemble piece Stasis. In Stasis, I was given a text from Samuel Beckett and had quite a lot of freedom to put words to various palettes of multiphonics or other sounds, forcing each word into a sound.

In Bite there is no such freedom, it is a thoroughly composed work and all the speech-gesture language has found its way into the notation. No clearly spoken text can be heard.* A performer does have the freedom, however, to add text if it helps to shape a phrase or even a single sound. Some text I added found its way into the printed version.

My only other interference in the compositional process had to do with the editing. The first draft lasted about 19 minutes, we brought it down to about 13 for this final version. I pleaded for one section not to be cut, because I particularly liked playing it.

Aside from learning the notes, I had several particular challenges in learning this piece. The first was the physical challenge. Since my bass flute is particularly heavy I had to buy a special stand to take the strain off my wrists and elbows. The work is also quite cathartic, sometimes one is required to shout or loudly vocalize with fluttertounge. This is something I enjoy, but I had to take care not to strain my voice during hours of practice.

There were plenty of artistic challenges for me as well. The work is interesting in its contrasts. Spectrally, one goes quickly from very rich, saturated sounds to very détimbré sounds, from over-blown rock ‘n’ roll sounds to the finest multiphonics. That in itself is technically difficult. In addition, all sounds are introduced in the first three minutes of the work. Since sonically nothing really new is introduced, I have to somehow generate my own flow of energy to engage the listener for the remaining ten minutes. This energy and engagement is musically very important because there is no development or narrative (which I find amusing in a piece which uses elements of speech).

I think this is one of the brilliant aspects of Rebecca’s music. Its modular components allow one to color their own interpretation with their own spectral and dynamic palettes. Indeed, one is forced to do so, because one can’t rely on traditional forms or gestures to carry the music. This opens up the path to contemplate and develop other aspects of musicianship.

I hope in these endeavors I succeed somewhat, and curious listeners will enjoy this recording. It took place after several years of performing it in concert, so I had plenty of time to let the interpretation mature. Yet each time I look at it anew, I always make discoveries!

The score is available through Peters Edition. If you have a library copy, check to see if that copy matches the latest Peters Edition version. There are quite a few differences.

*This is a great contrast to the piece I am working on now by Georges Aperghis for solo piccolo/narrator “The Dong” based on text by Edward Lear, which will be premiered in Musikfabrik’s concert in Darmstadt hopefully August 7th, 2021.

bass flute fourth octave practice technique

(Bore) Size Matters

Several times this year I have had other flutists asking me about my bass flute and whether I was able to play easily in the upper 3rd and into the 4th octave. My Kingma bass flute has a mid-size bore (sorry, don’t know the exact specs) and is able to play up to high C comfortably, high C# and D with effort. When I recorded Mark Barden’s Personae for bass flute and bass clarinet last year, I resorted to borrowing a Pearl bass flute that had a narrower bore, because I could never reliably hit a high E on my Kingma (which is otherwise an awesome instrument!). This passage is an example:

I am posting this to reassure you that if you are a seasoned bass flutist and are having real difficulty with these notes, don’t bang your head against a wall or berate yourself. Check your bore size. If you have one of those lovely large-bored instruments I really envy you – they sound marvelous! But I don’t envy you when you have to play in the 4th octave. Carla Reese sums things up nicely in her guide for buying large flutes:
“In general, a big bore instrument will have a stronger low register and a weaker high register than a small bore instrument. Bigger bores also tend to have a slightly slower response and more difference in tone between registers. Big bores are ideal for playing in flute choirs (especially for the bass) but can be heavier and need more air. Small bores are ideal for solo repertoire, where the demands can require more agility and a stronger high register.”

A colleague of mine who is a woodwind doubler has an extra small-bore Kotato bass flute, he says a high D pops out with hardly any effort.

I wish someone would invent a bass (or alto) flute that has an adjustable bore size!