Thursday, November 2, 2017

A Field Guide to Extended Techniques for Beginners

As we near the deadline for Flute New Music Consortium's Flute Artist Competition, I am thinking about all of you out there who are currently making friends with some new techniques for flute, as well as those of us who advocate strongly for new music and work to incorporate extended techniques into all of our teaching. I hope you'll all be won over in the end! 


Flutter Tongue: Rolling the ‘r’ to produce a fluttering, “frrrr” sound through notes.
A few occurrences in the literature*: Ulrich Gasser, Papierblüten (Paper Blossoms); André Jolivet, Cinq Incantations
Notes on practice: Even people who can roll their r’s (if you can’t, blame genetics!) sometimes prefer to switch to the uvula in the low register.  Use your uvula the same way you would gargle and bring that motion as far forward on the uvula as possible.  It can sustain a smoother sound by not interrupting the air as much as the tongue.  And of course, open up, blow down, and use plenty of air! Flutter tongue, by the way, is a great exercise for practicing moving fast air; just add it to slurred scales or long tones, then play without and notice a more resonant, open sound!

Harmonics: Producing multiple notes from one fingering, namely the tones from the harmonic series based off that note you are fingering. 
A few occurrences in the literature: Anne LaBerge, revamper; Elizabeth Brown, Trillium
Notes on practice: Practicing harmonics regularly also leads to more accurate control of sound production by improving accuracy on the head joint.  The exercises on the first page of Trevor Wye’s Tone book from his Practice Book for the Flute series provides a great guide to practicing harmonics for the sake of improving tone, and can be transposed to start on notes from B to F in the lowest register.

Jet Whistle: Covering the entire embouchure hole with your mouth and blowing very hard to produce a whistling sound. 
A few occurrences in the literature: Villa-Lobos Assobio a Jato (The Jet Whistle) for flute and cello: first occurrence; Ian Clarke, Zoom Tube; Robert Dick, Afterlight
Notes on practice: If you aim forward slightly and try to blow your air against the far side of the tube inside the head joint, you will get a sharper sound and create some resistance, thereby allowing you to go longer on the breath.

Key Clicks: Slapping one or more keys with or without blowing into the flute, creating a light percussive sound. Composers will sometimes ask for the note to be played while performing a key click; without this specification, the key click should not be accompanied by a tone.
A few occurrences in the literature: Phyllis Avidan Louke,  Extended Techniques - Double the Fun and Extended Techniques - Solos for Fun! ; Edgard Varèse, Density 21.5: first occurrence; Lowell Liebermann, Eight Pieces
Notes on practice: For more projection, experiment with leaving your mouth open slightly to act as a resonating chamber.  You can also produce the pitch a seventh below what is written by covering the embouchure hole completely with your mouth, which will be notated in a variety of ways by the composer.

Multiphonics: Playing two or more pitches at once; these tones will not sound as clean and pure as normal flute playing, but will tend to create a hollow, train whistle kind of effect. Most multiphonics require special fingerings which will be glossed either in the performer’s notes or within the context of the piece.
A few occurrences in the literature: Trevor Wye,  A Very Easy 20th Century Album; Michael Colqhoun, Charanga; Luciano Berio, Sequenza
Notes on practice: To practice finding them in a piece, isolate each individual pitch with the fingering given by the composer. Then find the place on the head joint where both will speak, aiming in between the two spots on the head joint for the individual pitches.  It may be necessary to favor one pitch over the other(s) if it is weaker in resonance or harder to maintain. Experiment with changing your air speed or vowel shape in the mouth to make it easier to get both to speak.

Pitch Bends: Smooth glissandos performed by either rolling the head joint in and out or sliding fingers off the keys of an open-hole flute (or both).
A few occurrences in the literature: Ian Clarke, Orange Dawn , Kazuo Fukushima, Mei; Robert Dick, Fish are Jumping
Notes on practice:  Experiment and let your ear be your guide--more stable notes (middle register D) will require some finger sliding, while very bendable notes like middle register C or C# can be done entirely by rolling in and out without completely losing the sound.  Besides rolling the flute, collapsing the embouchure and/ or slowing the air can help make a pitch go flatter, and pulling the corners of the embouchure (usually a mortal sin!) may help raise pitch.

Pizzicato: Short bursts of air across the embouchure hole combined with heavy (“spit”) articulation to create an airy, ghost-like staccato, played on any note fingering.  Do not blow directly into the flute like you would for a normal pitch; these should sound closer to key clicks than actual notes.
A few occurrences in the literature: Shulamit Ran, East Wind; Jason Barabba, A Sign in Space
Notes on practice: Blow further across the flute than you normally would to avoid playing  clean tone. Pizzicato notes can also be used in place of unpitched key clicks if you are playing in a very large and/or noisy room where you fear the key clicks will not be heard by the audience.

Sing + Play: Humming a pitch while playing a note on the flute. 
A few occurrences in the literature: Wil Offermans, Honami; Robert Dick, Lookout
Notes on practice: Sing and play is a great way to ensure that air flow is relaxed and open and that air speed is fast--practice doing it in unison, octaves, and polyphony in scales. It’s also a nice review of our aural  training! If you have difficulty starting both sounds right away, practice singing and then adding the note, and keep working to make the two gradually coincide.

Tongue Ram / Tongue Stop: Performed by hitting the embouchure hole with the tip of your tongue, like saying “hut” or “hoot” (a kind of reverse articulation).  The lips should totally encircle the embouchure hole.
A few occurrences in the literature: Victor Fontin, No Problem (Pub.: Doblinger), Jos Zwannenberg, Solo for Prepared Flute
Notes on practice: Be extremely forceful with the air and tighten the mouth for a good seal over the tone hole in order to efficiently produce audible sound on these.

Whistle Tones: Using slow but extremely focused air across the embouchure hole, you can produce notes that sound like you are whistling; multiple notes from the harmonic series can also be “whistled” off of low notes.  The lips should be further forward than normal playing when executing whistle tones.
A few occurrences in the literature: Wil Offermans, For the Younger Flutist - etudes, Toru Takemitsu, Itinerant
Notes on practice: Whistle tones are commonly used as an exercise to improve accuracy on the headjoint, much like harmonics. A simple exercise could involve finding the whistle tone of a note, then playing the regular note, and going back and forth to compare clarity of sound and pitch.  They are easier to produce in the high register, so start there (on or near high A) and gradually work your way down.  Strive to improve projection and steadiness of sound.

* Literature examples listed from easiest to most difficult


Workbooks/methods:
Artaud, Pierre-Yves. The Mutliphonic Flute and Present-Day Flutes (Pub.: Billaudot)
Dehnhard, Tilmann.  The New Flute - Workbook & DVD (Pub.: Universal)
Dick, Robert.  The Other Flute and Tone Development Through Extended Techniques (Pub.: Robert Dick)
Holland, Linda.  Easing Into Extended Techniques (5 volumes) (Pub.: Con Brio)
Koizumi, Hiroshi.  Technique for Contemporary Flute Music (Pub.: Schott)
Offermans, Wil.  For the Younger Flutist - etudes (Pub.: Zimmerman)

General definitions/demonstrations:
www.johnmcmurtery.com/index.php/extended-techniques
www.forthecontemporaryflutist.com
www.larrykrantz.com/et/et.htm

Detailed Repertoire lists:
www.palouke.com

Nicole Riner ©2017

Thursday, October 19, 2017

Keep track of your goals for better performances!

It's important all times of the year to continually reevaluate and remember what goals you are striving to accomplish; I am surprised by how often my students lose track of this precisely when they are getting close to performances.  As we pass the midterm mark here at University of Wyoming, I encourage my students to resist the temptation to put the blinders on and just obsessively perform their jury and recital pieces for the rest of the term. Remember every exercise that helps you make those pieces sound great, and maintain your workout routine in the face of chaos to feel completely in control.

This goes double for chamber groups, who can be slow to start and quick to fall into a slump as solo projects call. But if your required woodwind quintet has an end-of-semester performance, it's critical that you spend this time to build a strong sense of musical community and trust in each other.

Here are a two of simple hand-outs you can copy many times and add to your flute notebook to help.
Click on the icon for the .pdf.



Weekly Practice Sheets for all age levels:





Chamber Music rehearsal logs:



Thursday, October 5, 2017

Making recordings that showcase your best self

Every spring I am inundated with requests to help friends judge recorded rounds of competitions, and can I like to help out when I can.  And at the end of my judging stint, I always vow to jot down some helpful suggestions for the poor contestants I hear, whose flawed recordings are secretly jeopardizing their chances for advancement. Now is the time when those recordings get made, and I am really hoping I hear nothing but crystal clear, completely decipherable performances next May!  So, to all the future contestants out there...

Equipment.  I know, I know, we spend so much money.  But it's never been easier to find well-made equipment at an affordable price, or to comparison shop online for the deepest discounts.  Do yourselves the favor of investing in something good now, and you'll be able to use it for a long time to come.  I have loved my Zoom H4n stereo recorder for years, which records in both .mp3 and higher quality .wav formats, and it has been equally easy to use through computer changes and system upgrades. If you want to get fancy and use an external microphone, you can record up to four channels, but the built-in one has always worked for me. Likewise, Zoom's Q3HD will take both audio and video, together or separately, and you can control the quality level of both. I promise you, your phone/tablet/laptop is not doing you justice (unless you have a kick-ass external stereo mic and robust software).

Distance. Even good equipment sounds terrible when used poorly. Stand too close and there's a bunch of "junk" in the sound--juicy, airy extraneous noise from the air column splitting over the edge of the tone hole. Stand too far and you sound like you're playing from another room. Both are unflattering and make it hard to judge accurately what you sound like and what, specifically, you are playing. With a hand-held like the Zoom (above), start out standing about 5 feet from the machine, and place it slightly to your right if possible.  More of the "junk" in the sound comes out the left side of the embouchure hole. But all of this is hypothetical until you do a proper...

Sound Check. If you're impatient like me, or nervous like I was as a novice recorder in my student days, you just want to hurry up and get it over with. But you are unlikely to have your recording levels and spacing right on the first try. The level of the mic, your distance, the acoustics in the room, all make a difference in your recorded sound. So, play your extremes--something high and loud (most likely to overload the mic), something quiet and low (least likely to be picked up), and be sure you're also testing your dynamic range with a clear crescendo and decrescendo to make sure the mic isn't mitigating out volume for you (this often happens when it's set to "auto"). When you find the spot and settings where everything you are trying to do is accurately communicated in the recording, write down all the details so you can recreate that setting.  If you decide to come back and re-record things later, you won't have to reinvent the wheel.

Acoustics. Most competitions are strict about not editing tracks, and it's always good practice to avoid any questions about accuracy and truthfulness from the judges' panel. So, pick a room that sounds good--not too washy, but definitely not too dead, either.  I want to hear clarity of articulation and technical passages with all of the partials present in your sound.  Your bathtub may be too live, but your carpeted bedroom full of posters is most likely too dead (as are most practice rooms and teaching studios at U.S. colleges and conservatories).  Get creative--try using a rehearsal room or small auditorium at your school after hours if you can get in, or even a neighborhood church that isn't too live. If you teach lessons at a public school, there may be a nice space the band director will let you use. Oddly, my kitchen is the best room in the house, acoustically speaking. And again, sound check, sound check, sound check.

Dead time. A little time before and after each track is good, but if I am waiting more than 60 seconds for your first note, I'm going to get impatient and start jumping around in the track. The Zoom H4n comes with a remote control that helps you control this, or you can get a friend to push "record" and "stop" for you if it's taking too long to get from the machine to your stand.

Page turns and other extraneous noises. It may sound petty, but shockingly loud page turns are distracting (I giggled through an entire recording last spring because someone's pianist was taking out his frustrations on the score every time he turned). Clicking heels draw my attention towards your inability to stand still when you play. Creaking floors, loud furnaces, etc., all distract from your playing.  It's just human nature.  A little noise is fine (and proof you recorded live!), but anything that really pops out at you is a problem.

Listen before submitting. Seriously, this should be a no-brainer.  But when I hear tiny, far away flute, violent page turns, and a two minute lead (yes, really) before the start of a piece, I wonder if everyone is doing this. I get it--deadlines are surprisingly early, and it's tempting to wait until the last minute in the hopes that your dreaded trouble spot will be smoothed over. But don't rush yourself. You're spending hours and hours (and if you have to hire a pianist, dollars and dollars) to prepare this music to the best of your ability. You are competing to win, whether it's for a cash prize or a tenure-track job. So, it makes no sense to then take short cuts in the final step, which is the recording.Take the time to submit your best work, and make sure the listener can focus solely on your lovely playing, not how many times the air conditioning unit cycled during the Burton. Be a perfectionist.  It's worth it.

Good luck to everyone this audition/competition/job application season, and have fun!

Sunday, September 24, 2017

Wyoming All-State Band auditions, 2017

It's All-State time here in Wyoming, and I just put together an instructional video for all of you brave auditioning souls out there. Here it is, and the notes that follow are a review of what I'm demonstrating in the video:

You can download all three excerpts (two for flute, one for piccolo) and scales here. Scroll to the end for the optional piccolo excerpt. Some tips and resources, which I also touch upon in the video:


Etude #1: The accents create a sense of a march style here, and clean technique is clearly on display.


  • The spaces between the notes must be even, and all fingers must move as a rhythmical team to avoid "flams" or accidental grace notes.  Practice rhythms can help: turn each triplet into 





                           and 





to force the fingers to get to different notes cleanly and quickly.  Always practice with a metronome, and insist on 10 perfect repetitions in a row before moving on to the next tempo.

  • When slurring from E to F#, you can use the alternate F# fingering (RH 2 instead of RH3). This fingering is flat, so only use it in fast technical passages like you have in measure 13.
  • Each phrase has a clearly marked dynamic, and they must all sound different.  Map out your dynamic range on a single stable pitch: piano is the quietest sound you can make with a focused sound and excellent pitch, mezzo piano is one obvious notch louder, mezzo forte another step louder, etc. Fortissimo should still be in tune. To get louder, you drop your jaw (it should naturally go down and back at the same time) in increments for each louder dynamic. Conversely, to get quieter, your jaw will come up and forward slightly, like saying "oooo".
  • Accents should be produced with a firm tip of the tongue right where the back of your front teeth meet the roof of your mouth (where most people say "two"), and plenty of fast air behind the sound. If you find that you are cracking on these accents, drop your jaw a little bit and aim your air slightly lower into the headjoint.


Etude #2: This lovely, mournful ballad measures your ability to sustain a phrase and play expressively.  Good breathing capacity along with efficient air use, clear tone, and flexible vibrato are your goals.

  • Practice breathing out-of-time: with the metronome on, play a phrase in time, then give yourself two full beats to breathing, completely filling up from the bottom to the top, then play the next phrase in time, etc. After doing this for a week, limit yourself to one beat of breath, then finally, breathe in time. Continue to mimic the sense of fullness you had when you were taking two luxurious beats to breathe. 
  • If q=60 is too slow for you to play beautifully, start by practicing at the slowest comfortable tempo you can do, then gradually slow it down in increments. You haven't perfected a tempo until you can play in tune, with clear tone and dynamics ten times in a row. 
  • Be sure your vibrato depth/speed matches your volume--shallow and slow for piano, deep and fast for forte. Practice whole notes crescendo from piano to forte, then decrescendo back to piano ("diamonds") and experiment with your vibrato to fill up, but not go beyond the borders of, your sound at every volume. 
  • As with etude #1, map out your dynamics
  • It should go without saying, but...PRACTICE YOUR E-flat MINOR SCALE!
Piccolo Etude: You will be judged on beauty and continuity of sound, clean fingers (of course), and control of pitch. The fingers should be easier than flute etude # (use the 10x rule for all woodshedding), but sound can be more challenging on piccolo. Some thoughts:
  • Play the piccolo like you play the flute: keep your throat open, tongue relaxed, and some space between your back teeth like when you say "ah". Use fast spinning air like you do for flute.  This will ensure that all of your notes speak evenly and have depth.  Beauty of sound can be practiced like you practice it on flute, with long tones, "diamonds", and octave slurs. 
  • Your piccolo is not as acoustically "correct" as your flute, so you'll have to do more to control pitch.  Learn your tendencies with a simple "Pitch Tendency" sheet.  Turn on your metronome, and once you've tuned to an A, play and hold every single individual pitch, from low D to high F. Write down your specific tendency on that note (like "+20" or "-10"). Then take notes on what you have to do to get it in tune.  You should not need to roll in and out drastically, which hurts sound quality. Instead, drop your jaw to get flatter, or pucker to get sharper. In the context of this etude, you will know where to blow each note so that they are all in tune. 
Scales: Visit my blog post, "Tips for Creative Practice" to keep things fresh (and accurate).

Good luck, and enjoy the process!

Thursday, September 21, 2017

Tips for band directors

I always encourage band directors to keep in touch and ask questions whenever they are struggling with their flute sections; I think that we, as flutists, can offer a crucial lifeline to our colleagues in the public schools and advocate for the best practices on our instrument.  I cannot imagine the pressure of standing in front of a band and having to make everyone sound great on all of their various instruments all by myself; no one person can be the expert on everything. That's where a cadre of instrumental experts helps everyone involved.

These are some materials I have shared with my colleagues in Wyoming and NoCo over the years and I hope it is helpful in some way; feel free to share this information with your own colleagues, wherever you happen to be as you read this.  And band directors, remember: we want to help you help your students to love the flute (and piccolo) the way we do.  We're all on the same team, so call us when we can help!

Equipment

Move to an open-hole flute as early as possible (if hands are large enough, it is possible to start on one).  Off-set G is preferred over inline for the health of the left hand.  Pitch is generally better on a B-foot, rather than a C-foot, flute.   Flute prices range wildly, but in general, you get what you pay for.  The following brands are recommended because they are built on good scales, construction is sturdy, and they tend to hold a repair for a long time.

Recommended Brands, in order of preference--flutes:
            1. Altus/ Azumi (Azumi is made by Altus)
            2. Muramatsu
            3. Trevor James
            4. Yamaha

Recommended Brands, in order of preference--concert piccolos
            1. Resona by Burkhart
            2. Pearl PFP105-E
            3. Yamaha YPC-62

Embouchure practice aid: Pneumo Pro Wind Director, www.blockiflute.com

Resources

Online:
Accurate fingering charts: www.wfg.woodwind.org
Breathing exercises: Breathing Gym Playlist on YouTube
Purchasing flute music, instruments, and accessories: www.fluteworld.com 
Flute repertoire guides, practice tips, and history: thepedagogyproject.pbworks.com
Information on summer festivals, competitions, and conferences: www.nfaonline.org
Overcoming performance anxiety, general inspiration: www.bulletproffmusician.com
UW Flute Studio, including information on Wyoming Flute Day and a Wyoming state flute teacher directory: sites.google.com/site/wyoflutes/home
Dr. Riner’s home page: www.nicoleriner.info

Highly Recommended Exercise Books:
Trevor Wye, Practice Book for Flute, Omnibus Edition (Published by Novello)
            °Includes sections on tone, technique, breathing, articulation, scales, and more

Tips for Great Flute Playing
A hand-out for high school flutists by Dr. Nicole Riner
Visiting Assistant Professor of Flute, University of Wyoming

1.  Try to stand whenever you practice the flute, and face your feet, hips, and knees 45º to the right.  Then swing the upper half of your body to face the music stand.  This prevents arm fatigue and makes it easier to fill up with air. 

2. To fill up with air, deliberately sense the temperature of the air in the back of the throat.  This triggers the lower half of the lungs and makes the lungs expand from the bottom first, where they are larger and more pear-shaped.  Notice that the three lowest ribs are “floating” and not attached in the front like the rest of the ribs.  Let the floating ribs go outward in a 360º circle. 

3.  When tonguing say “tu” or “du”, not “whoo” or “pu”.  The tip of the tongue should hit just behind your front top teeth to lightly interrupt a fast, constant stream of air.  After each “tu” the tongue tip should rest lightly behind the bottom teeth, ready to strike again.  Keep the mouth cavity open and relaxed with the tongue resting on the floor of the mouth when not in use. 

4. To sustain the tone with a rich, full sound, use the “belt trick”.  Fill up with air and pretend you have a belt around your middle that is WAY too big for you. Make the imaginary belt taut by pushing out all around in a circle, and keep the imaginary belt taught the whole time you exhale into the flute.  This engages extra abdominal muscles that help control the exhalation. 

5. Move the lip corners forward as you go higher on the flute so that the center of the lips moves gradually closer to the far side of the blowing edge.  To go lower, open your mouth by putting more space between your back teeth and pointing the air down into the hole, which will be les covered.  Keep your corners loose and relaxed at all times.  Don’t roll the flute inwards or outwards to achieve different octaves or pitches, but make your lips do it instead. 

6.  To tune, push the headjoint in to make the pitch higher (sharper), pull the headjoint out to make the pitch lower (flatter).  When you are in a good place and the majority of your notes are in tune, remember that spot and put your headjoint there every time you put it together.  Remember that cold flutes will always be flat until they warm up; you can speed up the process by blowing some hot air into the headjoint before checking your tuning. 

If you find that you go flat when playing softly or sharp when playing loudly, use your embouchure:
For forte: Put more space between your back teeth, pull the upper lip downward, and aim the air down into the flute.
For piano: Bring your lips forward into a pucker and blow more across the hole, still using fast air speed. 

7.  Always line up your headjoint so that when you play your flute, the tops of the keys face the ceiling.  The first key should be lined up with the embouchure hole in the headjoint. Your pinky keys should be easily reachable—adjust where you put your footjoint to fit your hand.  Your right hand thumb should act as a shelf to hold that side of the flute, while the left side is held in place by your chin (with only gentle pressure, no pushing!) and the lower part of your index finger of your left hand. 

8.  When assembling or disassembling your flute, don’t place your hands on the keys, rods, or levers.  Place your hands on the sturdy and smooth parts of the tube only.  It’s very easy to bend the thin keys and rods, which will keep your flute from working smoothly and accurately. 

9.  Always swab the flute out with a handkerchief or silk swab after playing. This dries the pads and protects them from wear.  Always gently wipe fingerprints off the body to preserve the finish of your flute; you can use a handkerchief or microfiber cloth.

10.  Practice things that are challenging, like octave slurs and fast, clean scales, every day!  Stay curious and seek good role models in professional flute players and recordings.  Take lessons from a reputable flute teacher in your area if possible, or email me for in-person or SKYPE lessons. 


Nicole Riner ©2016