– IN PROGRESS –

Extended Technique guide: flute

This is an exploratory open resource for flute sounds that focuses on sonic examples and gives suggestions for my preferred notation.

Definition of extended:
Oxford Languages: 1) Made larger 2) Lasting longer than is usual or expected
Oxford English Dictionary: 1) Drawn out in length in space or time; continued, prolonged
Miriam Webster: 1) Drawn out in length, especially of time 2) Fully stretched out 3) Having spatial magnitude: being larger than a point

Many contemporary flutists reject the term “extended” as it is seen as pejorative, setting these sounds apart from a more standard approach to playing. While I agree that these techniques are a regular part of how to play the instrument, I do think extended is an accurate way to describe them. When we look at the definition of “extended,” we see that this term makes the world of the flute larger through space and time, making way for new worlds and unexpected timbres. This is an idea I support wholeheartedly.

This text is NOT:

  • Unbiased. This is what I have found to be true for me and my body and how I prefer to view notation.

  • A replacement for speaking and working together with a living flutist. Music making is more fun and rewarding together.

  • The final say in how these sounds work or how they should be written. Every body is different and every context is unique. It is what has been consistently true for me. I have been careful with my language below to encourage keeping an open mind.

  • An invitation to write a ‘kitchen sink’ piece. :)

You WILL find:

  • Brief descriptions of sounds and how to make them.

  • Simple audio samples of the basic sound.

  • Considerations for dynamics, sonic limitations, and interesting features.

  • Extended audio samples of variations of each sound.

  • Preferred music notation.

More resources:

WEBSITES
Flute Acoustics
Helen Bledsoe

BOOKS
The Techniques of Flute Playing by Carin Levine and Christine Mitropoulos-Bott, published by Bärenreiter

Pitched Air Sounds

White noise / airy sound on an indicated pitch. Instead of playing with tone, the flutist blows air with looser lips in a more diffused airstream.

Considerations: pp -> mf

  • Carries a similar flexibility to toned playing in the variation of timbre and dynamics, but with a more limited range of expression.

  • Limited pitch range to the first octave of the flute because there is no overtone series present in the undefined airstream to create the upper octaves.

  • Air sounds on pitches above the first octave need to include some tone sound in order to distinguish them from the lower octave.

  • It is especially interesting on the bass flute!

Experiments:

  • Vary vowel shapes

  • Speed / Volume of air

  • Sustained fricatives such as ‘sh,’ ‘ch,’ ‘k,’ etc.

  • Timbre spectrum between tone and air sound

  • Circular breathing is easier - the sound does not require a tensioned embouchure

Whistle Tones

A high-pitched whistle sound created by blowing extremely slow air with a small, defined aperture and very still lips. Change pitches of the overtone series by changing the shape of the mouth cavity.

Considerations: pppp

  • Very delicate and fragile!

  • Even the most practiced flutist may have trouble with steady whistle tones in the context of performance. They require small muscles of the body to be completely still and sometimes larger muscles of the body, like the heart, create sympathetic movement in the body. It is best to be open to and/or expect some wavering.

  • If struggling to make these delicate sounds, greatly reduce the speed of air to almost no pressure whatsoever.

Experiments:

  • Steady whistle is easier to achieve with upper register fingerings.

  • First octave notes and the lowest notes have more overtone variation for wavering whistles.

  • Vary the overtone series over wavering whistles by using microtonal or multiphonic fingerings.

 

Air Sounds Through the Flute

White noise / air sound with less prominent pitch, performed by completely covering the embouchure opening and blowing through the tube.

Considerations: pp

  • Quieter than pitched air sounds explained above.

  • It takes time for the flutist to get into the position of covering the embouchure hole. Fast transitions between the standard playing position on the chin and this covered position are risky.

Experimentations:

  • Whistle variation has two methods of production. One may be easier for a flutist than another depending on their anatomy. Let them do the one that works with their body.

    • 1) Place the tip of your upper lip slightly into the embouchure hole of the flute to create a whistle effect.

    • 2) Place the tip of a u-shaped tongue slightly over the bottom part of the embouchure hole of the flute.

  • Growl / Flutter Tongue: Make a rolled ‘r’ sound while blowing and it will sound like a growl. This is an awesome sound on the bass flute.

 
 

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