Category: contemporary music

  • 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!

  • Getting Started with Multiphonics

    I would like to share the following presentation: Getting Started with Harmonics and Multiphonics – with a deep dive into the harmonic structure of the flute sound.

    Why do I start this presentation with a discussion on harmonics? Because if you learn how to take out, put in, and isolate harmonics in your sound, harmonics and multiphonics will come more easily.

    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

  • 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!

  • Contemporary Music Pedagogy, and Benefits of Teaching Extended Techniques

    [This is an excerpt from a questionaire sent to me by Lorenzo Diaz for research purposes. The answers represent my opinions only.]

    Do you think conservatoires and schools of music really attach importance to contemporary music education?

    My short answer to your question is not reallybecause I think a Comtemporary Music Educationshould require not only teaching contemporary repertoire and its extended techniques, but should also require learning extended use of rhythms, different tuning systems, composition (especially for the performers) and improvisation.

    Here is a longer answer: An increasing number of schools do attach importance, at least formally. In Europe, the Bologna process has helped by offering specialized Masters programs such as Masters in Contemporary music. The appearance of prestigious Academies and Festivals such as the Lucerne Festival, the academies of Ensemble Intercontemporain and Ensemble Moderne has helped to draw conservatory students’ (and their Professors’) interest.

    I am not sure if this is happening outside of Northwestern Europe, but here there is a trend, usually initiated by Composition Departments (not Instrumentalists!), to create formal student Contemporary Music Ensembles, and hire personnel (part-time) to run it. This is a great thing, it creates jobs, gives the student composers an outlet for performances, and gives instrumentalists a chance to play contemporary music and receive formal credit.

    These are formal, structural changes that I have witnessed in the past 20 years.

    Although I have listed positive changes above, I think still in many schools there is a lack of integration of repertoire from the late 20th/early 21st Centuries. Personally, I would like to see Composition Departments taking even more responsibility and action to help make the needed changes. It can’t come from instrumentalists alone. Composition teachers could do this by focusing more on teaching the basics of Instrumentation/Orchestration, which is becoming a lost art. This would avoid basic mistakes and misunderstandings that can lead to distrust. They could encourage more programs or situations that encourage collaboration between student composers and instrumentalists. (Such as creating, taking part in or seeking funds for programs like Composer Collider Europe.) When a piece of contemporary music does not go over well with a student, they and their teacher are likely to criticize the music or the composer, rather than to criticize the situation that provides little opportunity for collaboration, preparation and practice.

     

    In your opinion, is teaching extended techniques really necessary in the academic environment?

    I think it is necessary to be able to offer them. They are part of some required repertoire for competitions, and can assist in embouchure development and control of the air stream. However, there are great flutists today who have never utilized extended techniques. I would not say it is absolutely necessary, but it is practical.

    To be completely honest, I think that to be a contemporary musician, on the technical level it is of first importance to learn the complexities of modern rhythm (polyrhythms, odd time signatures, etc.) and intonation (microtonal, spectral tuning, etc.). This will strengthen a student’s sense of rhythm and intonation, skills that are necessary to find a job in an orchestra, ensemble or theater. Learning to improvise and compose (just so you have experienced the process that a composer goes through) are the next most important things, to make one more completely rounded. Where do extended techniques come in? Again, I think it depends on the student, if and when they need it for embouchure development, or to play certain repertoire, or to expand their improvisational vocabulary.

    Do you think conservatoires should include more musical works using these resources in their academic programs?

    I think that more exposure to works with extended techniques should be encouraged. Repertoire with these techniques is becoming standard for auditions and admissions to festivals, competitions and places of study.

    In the case you reckon that the study of these techniques in students of elementary and professional level is possible, which technique (or techniques) would be preferable to apply from the beginning? Is there any one in particular that would be rather applied later on?

    It really depends on the student. If there is already the range of an octave, and the student has a good understanding of how to coordinate the air and embouchure, then harmonics can be introduced (we need the technique of overblowing anyway to play notes in the second octave). Circular breathing can be introduced as a concept from the beginning through the use of a glass of water and a straw, or the use of an end-blown tube like the didgeridoo. Application to the flute would come later, once the student has developed a good concept of embouchure and is flexible enough to come back to it after the modifications necessary for circular breathing.

    Is there any technique in particular that has proven to be more effective throughout your study?

    Harmonics are the most basic, I always turn to them in times of trouble.

    Do you usually request your students to study some effect on a daily routine, just as well as any other given technical exercise? If so, which one?

    Again it depends on the student. Harmonics are good for anyone, and I encourage all students to practice them daily.

    The “trumpet sound” has aroused controversy regarding its use; flautists as R. Dick would rather it not be written in order to avoid a counterproductive effect in the lips, do you agree with this?

    The counterproductive effect is only temporary. I use this effect in improvisation, however I discourage composers from using it. I have little faith that it will be written in a context where it will be appreciated acoustically or in a way that will avoid the counterproductive effect.

    Do you usually use any of the following extended techniques, both on your study and with your students (daily, at any given time…)

    Air: Yes sometimes. In a conversation with Sophie Cherrier, I got the idea to spend 10 minutes a day on loud air sounds in order to get the air column working. Of course, she does not recommend doing this with students who already have too much air in the sound, but for those who are too tight or too focused, this really works. I do it myself when I remember.

    Voice: Yes, I recommend this to my students and have exercises for it.

    Whistle tones: I teach these as needed. There was a time that I played these every day in order to play the first octave whistle tones down to low C. That was hard, but once I could do it I don’t need to do it every day.

    Bamboo: Only on request or as needed in the repertoire.

    Flutter tongue: Sometimes I recommend this as part of articulation training. Aurele Nicolet recommended that fast, articulated passages should be practiced legato and with fluttertongue.

    Pizzicato: Only on request or as needed in the repertoire.

    Key clicks: No.  I try to discourage composers from using it. Pizzicato is much more effective.

    Jet whistle: as needed, some players think it opens up the sound of the flute.

    Circular Breathing: I teach sometimes, on request. Benefits can be as a checkpoint for resonance. When I am warming up or just about to go onstage, I check my circular breathing regardless if it is required in the piece I am about to play. This is a sure-fire test to see if either of my nostrils or the back of my throat is blocked. If I am clear enough to circular breathe then I should be able to play with maximum resonance.

    Tongue Ram: In conversation with Sophie Cherrier she mentions that she sometimes teaches Tongue Ram in order to get a student to activate the abdominal muscles. This is something I plan on doing, should I have a student who needs this. I have tried it myself, not something I do every day, but occasionally it is a good activator.

    For more information about the benefits of extended techniques, please see this handout.

  • Performing Luigi Nono’s Flute Music

    I am very honored to have been invited by Daniel Agi and Tempo magazine to contribute my experience of performing Luigi Nono’s music. Our article has been published; here is the abstract:

    “A performer of Luigi Nono’s late works is often faced with crucial questions regarding interpretation and technical details. An important tradition has evolved in performing these works, nevertheless it is not always easy to find the necessary information to play them adequately. This article attempts to answer some of the technical and interpretational questions in the context of Das atmende Klarsein and A Pierre – Dell’Azzurro silenzio, inquietum. Our hope is that it will contribute to the discussion about authenticity and freedom of interpretation and provide flutists with practical information not found in the scores.”

    Here is the link to the abstract and citation.

    Here is a link to a share version of the full article.

     

  • Which extended techniques are harmful to flutes?

    During composer workshops, I am sometimes pleased to hear the question: “What are some techniques we should definitely not use because they may harm your instrument?”

    So I will keep a running list here.

    • Slamming your hands onto the keywork. A snap of the finger for a key click is one thing (and not all flutists like to do this, including myself), but once I was actually asked to raise my arm above my head and bring my hand down full force on the keywork. Repeatedly. For some reason, I had trouble convincing this particular composer that this might actually break or bend the posts and rods holding the keys in place.
    • Immersing part of the flute in water. If water, even a tiny drop, gets onto the key pads, the pad can swell up and not seal properly (and it may need to be replaced). The same can happen when pads are exposed to excess moisture, which is why I do not like to play out of doors, but that can’t be helped sometimes.
    • Putting your mouth directly on wooden lip plates. This is why I get out my plastic piccolo if I have to do a tongue ram or any percussive effect that requires me to close the embouchure hole with my mouth. Salivation is the first stage of digestion, and I don’t want the result of those chemical processes on finely carved wood.
    • (Not an extended technique, but please bear in mind.) Extreme temperatures. With metal flutes, key pads and the mechanism might go out of adjustment. With wooden instruments, it can be fatal! Some insurance companies will not even pay out if damage occurred while the instrument was below or above certain temperatures.

    I am sure I have forgotten something!

  • Tempo, Where’s the Hurry?

    In my last entry, I made some sarcastic remarks about the tempo in Berio’s Sequenza for flute being too fast. Now with genuine curiosity, I would like to probe composers’ psyche in the hopes that it will reveal why given tempi are often too fast. I will try not to make this a rant.

    Given today’s technology, it is not surprising that computer generated scores can churn out notes at a certain tempo that sounds “correct” when electronically reproduced. Then when produced with actual living, breathing creatures playing mechanical objects, the composer realizes that compromises or adjustments to tempo have to be made. That is understandable.  However, I  encounter this phenomenon with pre-technological pieces as well as contemporary ones that were composed away from the computer.

    The problems I see when a tempo is too fast:

    • Variations in division of the beat are poorly perceivable. Personally, I like my quintuplets to sound like quintuplets, and be discernible from sextuplets or sixteenth-notes.
    • Variations in pitch are poorly perceivable. Not only are fingering and lipping microtones difficult at high speeds, but can you really tell in a blur of notes if I play an F or an F a sixth-tone high? Should I really bother? [When I (and probably most flute players) get excited about a loud, fast passage, my F, and all the surrounding notes,  will be a sixth tone higher whether I like it or not.]
    • Variations in articulation are poorly perceivable. If inflections of long and short are important, I would appreciate time to produce them and to make sure the audience has time to capture them.

    Sometimes I am annoyed when I point out these things to a composer, and the response is: “Oh, that is the tempo you strive for, the ideal tempo.” Well, do I really strive for that tempo (which I can achieve in some cases) and sacrifice the musical details? If you know me already from reading my blog, I am at my worst when presented with conflicting information. I do appreciate conflict as a positive creative force, but do not appreciate it when it is a result of artistic laziness.

    But I am a nice person, and cannot believe that the majority of composers are lazy. So what is going on?

  • Berio Sequenza, some musings and links

    Berio Sequenza, some musings and links

    Several days until I record the Berio Sequenza no. 1. This winter break has been very stressful. I was with my family in St. Petersburg. Family can be stressful, my son is at a difficult age, I myself am at a difficult age. Russia is stressful. It was so cold that it has taken my skin and lips days to recover. But now back in the saddle of my bicycle in the temperate zone of Northwestern Europe, I have hit my stride.

    I am allowing myself a luxury. Next week there are plenty of pieces to prepare, old and new, but I decided to forget about them and devote my practice time to concentrate on Berio.

    The main reason is that my body feels soooo much better when I keep my practice time to only a few hours a day. This is how I want to feel during the recording. So I warm up, play Bach for sound, articulation, style and focus. (Watch Pahud’s video:  https://www.youtube.com/watch?v=yUxY7tagf0g where he gives his ideas on playing with focus. I practice like this with either one or two movements of Bach. I don’t recommend learning new pieces like this, but with pieces you know well, it is a great lesson.) Then Berio. Then for the rest of the day I do my Helen stuff, read, hang out with family, watch dumb and smart stuff on Youtube, study Jazz. This is luxury, as I have said. No rehearsals or teaching this early in the year.

    This time around I thought I would re-visit Gazzeloni’s recording. Just because. (https://www.youtube.com/watch?v=4SVeJhagG1I)

    It reminds me of a conversation I had with Camilla Hoitenga about new scores and recordings. You receive a new score along with a recording by the person for whom the piece was written. So you dutifully sit with the score and listen, but so much doesn’t correspond. So how do you prepare, follow the score or the recorded performance? You assume the player worked closely with the composer, and the composer is happy with the recording otherwise s/he wouldn’t have sent it to you. Even though I am sure I have been that player/dedicatee, I still don’t have an algorithm to navigate this situation.

    Since Gazzeloni’s recording is very much of its own time, I doesn’t spin me into a crisis. I find it very revealing though. I won’t end up following his tempi, but there are quite a few turns of phrasing that inspire me to think differently.

    About the tempo. I was talking to another local flutist who had worked with Berio on the Sequenza. He told me Berio complained that most players “play it too f(*&^ing fast!”. Well, I have news for you, Sr. Berio. You wrote it too f(*&^ing fast. Funny that the new edition doesn’t even adjust the metronome marking.

    I have also enjoyed watching Paula Robison speak on the subject. (https://www.youtube.com/watch?v=irY1kHq_F3g) In the last section, she points out possibilities that Berio allows (one namely being a slower tempo). I was also interested to hear about how she connects the Sequenza to the works of Samuel Beckett. Through Berio’s electronic piece, Thema (Omaggio a Joyce), I was aware of the James Joyce connection, and Beckett does make sense. Through playing Rebecca Saunders music, I am quite familiar with some of Becketts’ texts. So another inspiration has surfaced 🙂

    One big influence on Berio that I think really should be mentioned is that of the musicians around him, namely, his wife at the time, Cathy Berberian, for whom he wrote the third Sequenza.  Her theatricality, her agility, never cease to inspire me. Only recently did I come to know she composed herself. Here is an example of her graphic score, Stripsody (https://www.youtube.com/watch?v=XHUQFGhXHCw).

    I love her recording of the vocal Sequenza too, but I just came across a recent recording of the Sequenza no. 3 for voice by a young singer, Laura Catrani that fascinates me. (https://www.youtube.com/watch?v=E0TTd2roL6s). I can’t aspire to this type of recording, but it does give me food for thought.

    imagesI am unashamedly playing from the old edition. Being a creature born myself in mid-20th century, I am hoping the good people of Universal Edition will forgive me. The old version has been in my memory for about 20 years now. But I do own the new addition, and am finding it more useful than ever this time around to answer questions about timing. For an interesting discussion of the two versions you can read Berio’s Sequenzas: Essays on Performance, Composition and Analysis, Chapter one by Cynthia Folio and Alexander Brinkman.