The Modern Twig: Extended Techniques for Piccolo

Home , James Dillon (composer), Move to This, New Complexity

Gillian Sheppard

A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts, Music Performance

Faculty of Music University of Toronto

The Modern Twig: Extended Techniques for Piccolo

Gillian Sheppard

Doctor of Musical Arts, Music Performance

Faculty of Music University of Toronto

2018

ABSTRACT

Experimentation with sounds and special effects in the twentieth century have unearthed a new voice for the piccolo, one which has taken the instrument from orchestral coloratura to contemporary virtuoso. The use of piccolo in modern music continues to increase, however the literature lacks a definitive, comprehensive resource outlining the range of extended techniques possessed by the instrument. The Modern Twig offers a brief historical analysis of the piccolo’s rise to soloist status and an extensive set of annotated fingering charts for twenty-two different techniques. Additionally, performance guides for four pieces of contemporary repertoire – Lachrymose by Derek Charke,

Diffraction by James Dillon, Nidi by Franco Donatoni and Superscriptio by Brian Ferneyhough – offer piccolo players the practical advice needed to more readily bring these works to life. The piccolo offers composers and performances a dramatic palette of colors and sounds suitable for use in contemporary music. The Modern Twig will serve as an authoritative resource for anyone wishing to write or perform new music for piccolo.

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ACKNOWLEDGMENTS

The writing of this dissertation has been a journey of immense scope, experimentation and introspection. I would like to thank some individuals who have been instrumental in the completion of this document:

First, I would like to thank my supervisor, Dr. Gillian MacKay, for her guidance as well as her insightful (and witty!) commentary throughout the writing process over the past years. Thank you for helping me stay grounded, sending me down all the rabbit holes and helping me regain my focus over the course of this journey! Thank you also to committee member Dr. Sarah Gutsche-Miller for helping me navigate the waters of academic writing and continually pushing me toward a higher standard. This dissertation would not have been possible without the love and encouragement of my teacher, mentor and friend Camille Watts, who has been incredibly supportive of this project since the beginning. Thank you for always believing in me! I would not have been able to complete this project without you. I am fortunate to have a committee with such breadth and depth of expertise and knowledge.

Thank you to Daniel Mehdizadeh for his patience and expertise in completing the engraving of this dissertation; and to Tristan Durie of Whirlwind Press for providing the flute fingering font. I would also like to acknowledge my friend and colleague Carla Rees, who inspired this project several years prior to my time at the University of Toronto. You are an inspiration to me – thank you for your mentorship! To the many other friends and colleagues who have supported this project, thank you!

Finally, I would like to acknowledge and thank my parents, Bill and Marilyn Sheppard, and my partner, Daniel Morrissey, to whom I am extremely grateful for their continued support for my musical endeavors. Thank you for encouraging me and believing in me through every step of my journey.

TABLE OF CONTENTS

ABSTRACT ...... ii ACKNOWLEDGMENTS ...... iii TABLE OF CONTENTS ...... iv TABLE OF FIGURES ...... viii INTRODUCTION ...... 1 GOALS OF THE PROJECT ...... 3 RESEARCH METHOD: OVERVIEW ...... 5 LITERATURE REVIEW ...... 9 THE CREATION OF A MODERN FLUTE: INFLUENCES OF THE EIGHTEENTH- AND NINETEENTH-CENTURIES ...... 28 CONCLUSION ...... 36 CHAPTER ONE, TECHNICOLOR DREAM FLUTE ...... 38 A WOODWIND REVOLUTION ...... 38 THE DEVELOPMENT OF CONTEMPORARY REPERTOIRE FOR FLUTE ...... 41 A COLLABORATIVE APPROACH TO NEW MUSIC FOR PICCOLO ...... 47 A NEW IDENTITY FOR THE PICCOLO ...... 55 INNOVATIONS AND ADVANCEMENTS ...... 66 CONCLUSION ...... 69 CHAPTER TWO, THE MODERN TWIG ...... 70 PITCH ...... 73 Range ...... 73 Limitations ...... 74 Microtones ...... 75 Notation of Microtones ...... 75 Fingering Chart ...... 76 Microtonal Trills and Tremolos ...... 97 Notation of Microtonal Trills and Tremolos ...... 97 Fingering Chart ...... 98 Bisbigliando ...... 105 Notation of Bisbigliando ...... 105 Fingering Chart ...... 106

Pitch Bend and Glissando ...... 116 Pitch Bend ...... 116 Glissandi ...... 116 Notation of Pitch Bends and Glissandi ...... 117 TIMBRE ...... 118 Alternate fingerings ...... 118 Fingering Chart ...... 119 Whistle Tones ...... 120 Notation of Whistle Tones ...... 120 Fingering Chart ...... 121 Aeolian (Wind) Sounds ...... 126 Pitched Aeolian Sounds ...... 126 Jet Whistles ...... 126 Notation of Aeolian Sounds ...... 126 Singing & Playing ...... 128 Vocal Glissandi ...... 128 Notation of Singing and Playing ...... 128 Smorzato (Lip Vibrato) ...... 130 Notation of Smorzato ...... 130 Harmonics ...... 131 Notation of Harmonics ...... 131 Fingering Chart ...... 132 PERCUSSIVE TECHNIQUES AND ARTICULATION ...... 135 Response of Articulations ...... 135 Articulated Air Sounds ...... 136 Notation of Articulated Air Sounds ...... 137 Ribattimento...... 138 Notation of Ribattimento ...... 138 Flutter Tonguing ...... 139 Notation of Flutter Tonguing ...... 139 Pizzicato ...... 140 Notation of Pizzicato ...... 140 Register Chart ...... 141

Key Clicks ...... 142 Notation of Key Clicks ...... 142 Tongue Ram ...... 143 Notation of Tongue Ram ...... 143 Register Chart ...... 144 Beatboxing ...... 145 Notation of Beatboxing ...... 145 MULTIPHONICS ...... 146 Notation of Multiphonics ...... 148 Fingering Chart ...... 149 Multiphonic Trills ...... 197 Notation of Multiphonic Trills...... 197 Fingering Chart ...... 198 CHAPTER THREE, CONTEMPORARY REPERTOIRE PERFORMANCE GUIDE ...... 203 Lachrymose for Solo Piccolo by Derek Charke ...... 204 General Remarks ...... 206 Learning Lachrymose – By Technique ...... 206 Listening ...... 210 Conclusion ...... 211 Diffraction for Solo Piccolo by James Dillon ...... 212 Learning Diffraction – The Rhythmic Structure ...... 216 Listening ...... 219 Breaking Down the Techniques ...... 219 Conclusion ...... 224 Nidi per Ottavino by Franco Donatoni ...... 225 Performance Guide for Nidi per Ottavino ...... 226 Using the Flute to Your Advantage ...... 229 Learning Nidi – By Technique ...... 230 Conclusion ...... 232 Superscriptio for Solo Piccolo by Brian Ferneyhough ...... 233 General Remarks ...... 234 Listening ...... 237 Putting it All Together ...... 238

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Thoughts and Recommendations ...... 240 Conclusion ...... 241 CONCLUSION ...... 242 BIBLIOGRAPHY ...... 244 Discography ...... 248 APPENDIX A ...... 249

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TABLE OF FIGURES

FIGURE 1. NOTATION OF PITCHES: C# - C#1 - C#2 ...... 70 FIGURE 2. MICROTONAL NOTATION OPTION 1…………………………………………………………………………………………………….. 75 FIGURE 3. MICROTONAL NOTATION OPTION 2 ...... 75 FIGURE 4. BRIAN FERNEYHOUGH, SUPERSCRIPTIO – BISBIGLIANDI INDICATED IN GLOSSARY BUT NOTATED AS REGULAR SEMITONE TRILLS ...... 105 FIGURE 5. JAMES DILLON, DIFFRACTION – BISBIGLIANDO NOTATION ...... 105 FIGURE 6. JAMES DILLON, DIFFRACTION – GLISSANDI NOTATION ...... 117 FIGURE 7. PIERRE-YVES ARTAUD, ÉOLE – WHISTLE TONE NOTATION ...... 120 FIGURE 8. BART SPAAN, HALO - WIND TONE AND CHROMATIC GLISSANDO NOTATION ...... 127 FIGURE 9. IAN CLARKE, ZOOMTUBE – JET WHISTLE NOTATION ...... 127 FIGURE 10. IAN CLARKE, ZOOMTUBE – SING AND PLAY WITH MULTIPHONIC NOTATION ...... 129 FIGURE 11. IAN CLARKE, ZOOMTUBE – VOCAL GLISSANDI NOTATION ...... 129 FIGURE 12. JAMES DILLON, DIFFRACTION – SMORZATO NOTATION ...... 130 FIGURE 13, PIERRE-YVES ARTAUD, ÉOLE – HARMONIC NOTATION ...... 131 FIGURE 14. IAN CLARKE, ZOOMTUBE – ARTICULATED AIR SOUNDS NOTATION ...... 137 FIGURE 15. KEN BENSHOOF, IN SHADOW, LIGHT – RIBATTIMENTO NOTATION ...... 138 FIGURE 16. JAMES DILLON, DIFFRACTION – FLUTTER TONGUING NOTATION ...... 139 FIGURE 17. MARTIN BRESNICK, HIGH ART – KEY CLICK NOTATION …………………………………………………………………….. 142 FIGURE 18. ROGER REYNOLDS, MOSAIC – KEY CLICK NOTATION ……………………………………………………………………… 142 FIGURE 19. MARTIN BRESNICK, HIGH ART – TONGUE RAM NOTATION ...... 143 FIGURE 20. GREG PATILLO, INSPECTOR GADGET – BEATBOXING NOTATION ...... 145 FIGURE 21. JAMES DILLON, DIFFRACTION – MULTIPHONIC NOTATION ...... 148 FIGURE 22. JAMES DILLON, DIFFRACTION – “NOTES FOR PERFORMANCE" ...... 223 FIGURE 23. FRANCO DONATONI, NIDI – OPENING PITCHES, THE INITIALS OF THE COMPOSER ...... 227 FIGURE 24. FRANCO DONATONI, NIDI – ORNAMENTATION ...... 229 FIGURE 25. FRANCO DONATONI, NIDI – MORDENTS ...... 230

INTRODUCTION

The piccolo burst onto the contemporary music scene in the 1970s, when composers realized that this orchestral coloratura’s unique voice could also produce a wide range of contemporary sounds.

Often feared for its unpredictability and instability of pitch, the piccolo has, in recent years, transcended its own traditional sonority. The ‘shrieking twig’ now possesses a full range of extended techniques, from the milder sounds of harmonics and bisbigliando to a comprehensive collection of multiphonics and percussive effects1. The piccolo has carved out a niche for itself in contemporary music, redefining itself as a solo virtuoso in addition to keeping its important functional role within the orchestral texture.

This dissertation provides historical background about the development of the piccolo to its present position as a popular solo voice in new music; serves as a practical manual for the applied performance of extended techniques on piccolo; and offers performance analyses and suggestions for four major works from the contemporary literature for the instrument. The impetus for this research has arisen from the concern that there are limited resources for contemporary techniques on piccolo, and no single source which provides comprehensive technical information (fingering, dynamics, articulation etc.) as well as recordings of the sounds. This detailed information is designed for the benefit of players in their study and performance of contemporary repertoire and for composers who wish to write new music for the instrument using extended techniques.

Two main factors contributed to the arrival of extended techniques in the flutist’s vocabulary: first, as both solo and orchestral repertoire grew increasingly abundant, difficult, and complex, flutists searched for ways to negotiate the score. This included the discovery of harmonic fingerings to capture a unique timbre or replace a more awkward third and fourth octave cross-fingering. Second, with

1 For the purposes of this dissertation, the terms bisbigliando and timbral trills are considered interchangeable, as they have been internationally accepted as names for the same effect on woodwind instruments: a trill for which the resulting sound is a microvariation in pitch or colour. 2

compositional trends leaning increasingly towards the abstract and avant-garde, both flutists and composers began seeking out new and interesting sounds on all acoustic instruments. It was discovered that the flute lent itself quite well to the production of multiphonics, martellement (shakes), and timbral effects such as vibrato and the harmonic fingerings previously discussed.

The use of ‘noise’ as musical sounds and the development of musique concrète techniques in the early twentieth century led composers to begin experimenting with new technology. The introduction of synthesizers, keyboards, sequencers and recording devices changed the way composers produced sound and composed music.2 Electronic music studios, with the support of governments and institutions, enabled extensive experimentation with modern technologies. Acoustic instruments and performers were able to remain relevant to the development of new sounds in this time of experimentation and innovation by stepping outside the comfort of traditional sonorities. According to David Cope, “in few other periods of music history have performers played such an instrumental role in the development of new sound resources and instrumental techniques as in the past eighty years.”3 For its part, the flute displayed an immense ability to produce a variegated palette of sounds and colours, which positioned the instrument to become a powerful and compelling vehicle for contemporary music.

Performance and pedagogical literature in extended techniques for C-flute, and even the alto and

Bass flutes, is extensive. There is a comparative lack of literature on extended techniques for the piccolo. The piccolo is an instrument of diminutive size and a different shape - cylindrical head with a conical body, instead of wholly cylindrical - whose key mechanism has some significant differences from that of the C-, alto, or bass flute. The instrument has a notoriously poor reputation, feared by young or

2 David Cope, New Directions in Music (Long Grove: Waveland Press Inc., 2001): 134. 3 Ibid., 50.

inexperienced players because of its sensitive nature and its instability of intonation. According to Jim

Walker, “this attitude exists at all levels of flute playing and is an attitude that needs correcting.”4

Specialized research is necessary to distinguish the unique opportunities and challenges faced by the piccolo from those of its counterparts. This knowledge will enable a more thorough and wide-spread understanding of the instrument’s capabilities and further its identity as a vehicle for modern music- making. The intention of this dissertation is to establish the piccolo's propensity for contemporary music through in-depth research into the development of this repertoire and provide a comprehensive manual of extended techniques for the instrument.

GOALS OF THE PROJECT

The goal of this project is to create a definitive resource that outlines all the modern technical possibilities for the piccolo and that approaches them in a systematic pedagogical way. My research will explore the piccolo’s capabilities for extended techniques within the categories of pitch, timbre, percussive effects, articulation, and multiphonics. Pre-existing literature for C-flute will form the basis for my research into the techniques that are possible on piccolo. I will thoroughly investigate these techniques to determine which are viable on piccolo, which have poor results, or which are entirely impossible. I will also explore the possibility of other techniques that are unique to the piccolo and unavailable on the larger flutes.

The manual will comprise discussions of techniques such as pitch bending, glissandi, whistle tones, singing and playing, alternate fingerings, aeolian (wind) sounds, and bisbigliandi. Where appropriate, each technique is accompanied by an annotation indicating a rating of stability (with “1” being easy to execute and sustain, and “3” being the most difficult to execute and hard to sustain), dynamic range, intonation and in some cases, suggestions for notational options and/or the most

4 Jim Walker, “Why Play the Piccolo?” Jim Walker, Flute. Accessed October 23, 2017. www.jimwalkerflute.com/why-play-the-piccolo.html.

technically viable fingering combinations. In addition to this written thesis, some corresponding information for each technique listed within the document will be available in a web-based format, with access to audio files recorded by the author.

Through detailed applied research this dissertation will establish the spectrum of extended techniques that are currently available on the piccolo and provide fingering charts, technical information, and practical advice necessary for successful execution by performers. Through this project,

I hope to provide an authoritative and practical guide to contemporary performance practices for the piccolo.

The nature of the instrument imposes some specific parameters on this study. The success of extended techniques is affected by the quality and type of instrument used. The piccolo is a mercurial character, and its unpredictability extends to the production of extended techniques. The materials used in the construction of a piccolo (the type of wood, metal etc.) and the cut of both the embouchure hole and head joint contribute to the playability of the instrument. The experience and expertise of the player will also play a major factor in the performance success of these techniques. As with the C-flute, some techniques are easy to execute while others require a more skillful player with an intimate knowledge of the instrument. For this reason, a scale of stability relaying the difficulty of each technique has been included in the manual and every technique has been tested by multiple flutists ranging in skills and experience on the piccolo.

Readers are advised that this dissertation does not contain any information regarding “prepared piccolo.” “Prepared flute” is a new technique that is gaining popularity among composers. As in performances for “prepared piano,” this technique requires modifying the instrument by attaching materials or items which affect the timbre.5 “Prepared flute” techniques can range from attaching

5 “Prepared Flute” is an up and coming technique which has been thoroughly researched by Stacey Lee Russell. Information can be found in Russell’s dissertation “The Prepared Flute: A Survey of its History, Techniques and Repertoire” (DMA Diss., University of South Carolina, 2016) or on her website, www.staceyleerussell.com.

cigarette paper to the tone holes, to playing only individual parts of the instrument, to inserting the foot joint of the flute in water. The present dissertation does not discuss any “prepared” piccolo techniques because there is no known repertoire for the instrument requiring this technique. The online resource which accompanies the manual will be updated to reflect any changes or discoveries of new techniques, including the addition of new repertoire, in the piccolo’s extended technique vocabulary.

RESEARCH METHOD: OVERVIEW

This dissertation will undertake both primary and secondary research to make a case for the piccolo as a solo voice in new music. Secondary research will set the backdrop for the piccolo’s development from orchestral coloratura to contemporary virtuoso. This research will encompass a brief review of the history of extended techniques and contemporary repertoire for the flute family followed by a survey of the evolution of the flute key system (which has played a direct and crucial role in the development of extended techniques). Relevant musical trends and compositional styles and the importance of composer-performer relations will be considered for their contribution to the birth of contemporary repertoire.

While the Introduction and Chapter One will set the stage for the rise of the piccolo as a contemporary solo instrument, Chapter Two offers descriptions of the twenty-two techniques included in the document, along with annotated fingering charts and register charts. The work of Chapter Two is predicated upon detailed study of four authoritative pedagogical texts on extended techniques for flute.

Three of these texts include specific discussion of the use of extended techniques on piccolo. I will discuss the viability of the techniques listed in each text for the piccolo, test other C-flute techniques on the piccolo to confirm their possibility, and look for other avenues of opportunity to create new sounds not currently in the piccolo’s contemporary vocabulary.

Four definitive texts will provide the parameters of classification for the techniques and categories used in this dissertation. These texts are The Techniques of Flute Playing Volume 1 and

Volume 2, Piccolo, Alto Flute and Bass Flute by Levine and Mitropoulos-Bott; Artaud and Geay’s Flûtes au présent: traité des techniques contemporaines sur les flûtes traversières à l'usage des compositeurs et des flutistes; Koizumi’s Technique for Contemporary Flute Music: for Players and Composers; and

Dehnhard’s The New Flute.6 These texts are universally accepted as the authoritative resources for flute extended techniques because of their comprehensive coverage of topics and reputations of their authors as leaders in the field. The Levine and Mitropoulous-Bott, Artaud and Geay, and Koizumi texts were chosen because they include sections specifically dedicated to the piccolo. Despite its lack of piccolo-specific information, Dehnhard’s The New Flute is the first manual to include significant detail on beat boxing or “flute boxing” and it was included in the four main resources for this reason – as well as its exceptional descriptions, instructions and practice material.

Most of the background research will be conducted using these texts, with support from academic journals, other dissertations, and the study of standard solo and orchestral repertoire. These texts will be supplemented by Robert Dick’s publications The Other Flute and Tone Development for

Extended Techniques.7 While these books do not include any discussion of the piccolo specifically, they are widely considered two of the most authoritative texts on contemporary flute techniques in the literature and will serve as reference points throughout the research stages of this project.

The applied research for this dissertation will consist of testing the established range of viable extended techniques for piccolo and exploring any possible areas of expansion on those techniques.

6 Carin Levine and Christina Mitropolous-Bott, The Techniques of Flute Playing Volume 1 and Volume 2, Piccolo, Alto Flute and Bass Flute (Kassel: Barenreiter, 2004); Pierre-Yves Artaud and Gérard Geay, “Aspects of the Flute in the Twentieth Century”, Contemporary Music Review 8, No. 2 (2009): 131-216; Hiroshi Kozumi, Technique for Contemporary Flute Music: for Players and Composers (Tokyo: Schott, 1996); Tillman Dehnhard, The New Flute (Vienna: Universal Edition, 2013). 7 Robert Dick, The Other Flute (New York: Multiple Breath Music Co., 1989); Robert Dick, Tone Development Through Extended Techniques (New York: Multiple Breath Music Co., 1986).

Annotated fingering charts in Chapter Two will include (where appropriate) dynamic range, stability rating (or ease of execution, with 1 being very stable, easily executed and sustained; and 3 being difficult to execute or sustain), changes to timbre or intonation, possible articulations and any challenging arrival or departure points that may cause difficulties when the fingering is put into practice. The comprehensive list of fingerings and techniques in this dissertation will be determined via thorough study of those already in use, and by exploring techniques or fingering options used on the other flutes that have yet to be integrated into the piccolo literature. Several of the techniques included in this manual have been described by other authors – including those of some of the four resources – as limited in scope or altogether impossible. This manual aims to debunk those assumptions and lay clear the full range of technical possibilities of the piccolo.

Chapter One will encompass a review of repertoire, compositional trends, and research specific to the piccolo. It will also highlight relationships and individuals who contributed significant research and support for the development of extended techniques. A brief survey of repertoire will trace the growth and use of extended techniques in solo flute music, where the radical change of compositional style is most evident. The history of other auxiliary woodwinds provides a backdrop against which an understanding of the piccolo’s own development as contemporary soloist can begin. A review of scores, articles and other dissertations related to modern piccolo playing will establish the depth and breadth of current contemporary repertoire. The profiles of a select few influential flutist-composers, insight into the performer-composer relationship as well as a look at the influence of commissioning projects and flute-based organizations will demonstrate the concerted effort that has been used to promote contemporary piccolo playing.

Increased interest and enthusiasm for extended techniques and contemporary repertoire for flute is reflected in the development and mass production of twentieth-century key systems, as seen in innovations such as the Kingma quarter tone key system. Each of these factors have contributed to the

perfect conditions for establishing the piccolo twenty-first-century virtuoso and set the stage for continued explorations in the realm of extended techniques for auxiliary instruments.

Chapter Two is the culmination of all primary research undertaken: this chapter establishes the range of extended techniques available on the piccolo and brings all of those techniques (including practical performance and composition suggestions etc.) together in one manual. The compilation of this information will require extensive testing of published techniques, followed by the exploration of other possibilities that might available on the piccolo.

Testing will begin by confirming the piccolo techniques included in the four texts, noting any missed opportunities or possible development on each book. Techniques for Flute Playing Volume 2 offers the most comprehensive and detailed information on the piccolo’s range of extended technique capabilities and will therefore serve as the starting point for all practical research.8 The contents of Technique for

Contemporary Flute Music: For Players and Composers, Flûtes au présent and The New Flute will be compared to the Techniques for Flute Playing to ensure that the present research is comprehensive.

Recommendations for practical use of the techniques – including, but not limited to, appropriate arrival and departure points from each technique, timing needed to arrive at a particular fingering (from a hand position perspective) – are included in the fingering charts. Effective use of the resource is ensured through a consistent presentation of notation, fingering charts and individual qualities. The fingering font provides a clear diagram of the instrument’s key system, taking away any guesswork on the part of the reader/performer. I will update the online version of the resource regularly to reflect new research, techniques or additions to the repertoire.

Chapter Three offers performance guide for four pieces of major contemporary piccolo works:

Nidi for piccolo solo (1979) by Franco Donatoni; Superscriptio (1981) by Brian Ferneyhough; Diffraction

8 Volume 1 in this series provides information surrounding techniques for C-flute only while Volume 2 provides the corresponding details as those techniques pertain to piccolo, alto and bass flute.

(1984) by James Dillon; and Lachrymose (2004) by Derek Charke. These pieces are four pillars of the contemporary piccolo repertoire and present a wide spectrum of extended techniques. Demonstrative of both early and more recent contemporary works, they offer a range of extended techniques and four unique writing styles. The performance guide will offer a brief biography of each composer and provide background information on the work. Reflections are based on my own learning process and performance. To gain the most benefit from this manual’s analytical sections, the reader is encouraged to keep the score at hand for ready reference. Recordings of performances of these pieces (as well as other major contemporary works from the piccolo repertoire) and individual extended techniques are available at www.moderntwig.ca.

LITERATURE REVIEW

Extended techniques for the flute resulted from the work of several pioneering flutists, who began employing techniques such as harmonics and alternate fingerings to facilitate complex technical passages and provide a desired timbre. This resulted in a wide-spread interest in alternative timbres and exploring the capabilities of the flute beyond its traditional use as a melodic instrument. Many players, composers and researchers began studying these possibilities and sharing their findings in articles and books, as well as through teaching and performance. By the early 1960s several major articles by formidable flutist-authors had been published in prominent new music journals. These articles contributed valuable information to both historical and pedagogical background information about contemporary techniques for the C-flute and its auxiliaries. Additional articles on extended techniques and contemporary composition practices appeared in the form of instructional writings and pedagogical style texts. I used general music history text books as well as biographies and collections of writings to inform the historical background and context of the present research. Dissertations and research devoted to the piccolo filled out the bulk of the secondary research, illuminating niche areas such as

individual piccolo players, pedagogues, and contemporary compositions. Online resources such as blogs, websites, and interactive tools offer a new level of accessibility for the creation and learning of extended techniques. The use of musical scores is invaluable to the learning process for any performer, and selected study books assist in the assimilation of extended techniques into a flutist’s facility as well as creating a historical context for the development of extended techniques during the nineteenth-century.

Four primary sources, plus two supplementary reference texts, are the heart of the present research. Publications by Levine and Mitropoulos-Bott, Dehnhard, Koizumi, and Artaud and Geay have provided the vast majority of material used to compile the comprehensive manual of extended techniques for piccolo found in Chapter Two.

Carin Levine and Christina Mitropoulos-Bott co-authored the book The Techniques of Flute

Playing, published by Barenreiter in 2004.9 This two-volume text offers the most comprehensive database of extended techniques for both C flute and auxiliary flutes in the modern repertoire.

According to the authors, The Techniques of Flute Playing is “intended to serve as a practice-oriented handbook for students, teachers and composers.” For the purposes of this dissertation, I will be primarily using Volume 2, Piccolo, Alto Flute and Bass Flute. However, while Levine and Mitropoulos-

Bott’s work appears to be the most comprehensive text on extended techniques for piccolo, The

Techniques of Flute Playing Volume 2 does not provide the reader/performer with any discussion surrounding the applied use of these techniques, such as advice on approach to or departure from the particular techniques, or the dynamic ranges of the various fingering combinations.

French flutist Pierre-Yves Artaud and composer Gérard Geay began researching extended techniques for the flute in the early twentieth-century, and in 1968 published their treatise Flûtes au

9 Levine, an American flutist, is known for her work in new music, having been awarded the prestigious Kranichstein Musikpreis for the Interpretation of Contemporary Music in 1978. Levine has formed collaborative relationships with many modern composers, including Brian Ferneyhough and Giacinto Scelsi, both of whom have contributed landmark works to the contemporary flute repertoire.

présent: traité des techniques contemporaines sur les flûtes traversières à l'usage des compositeurs et des flutistes.10 Artaud and Geay were among the first to significantly research the piccolo’s capabilities for modern techniques. Artaud and Geay’s concerted efforts in the piccolo realm focus primarily on the exploration of multiphonics, to which nine of the complete resource’s 131 pages are dedicated. These nine pages are significantly more comprehensive than any other book or article on the subject. Also included in this resource is extensive discussion of the piccolo’s ability to produce harmonics, the

“melodic possibilities” of those harmonics, and a section on bisbigliando (including the related fingering charts).11 Artaud and Geay also discuss microtones on the piccolo, identifying which techniques/pitches work well for the instrument and making brief mention of multiphonic trills on piccolo. My dissertation will build on the information presented in Flûtes au present by including discussion of percussive and articulatory effects specifically for the piccolo.

Hiroshi Koizumi’s Technique for Contemporary Flute Music: For Players and Composers published in 2012, is a highly valuable pedagogical resource. This volume discusses contemporary techniques on the flute, but also states which techniques and fingerings are available to the piccolo, alto flute and bass flute. While Koizumi’s volume is one of very few texts that provide players and composers with preliminary research into the contemporary abilities of the piccolo, research presented dissertation will dive in deeper on the idiosyncrasies of the instrument.12

The final text to be used in the practical research portion of this dissertation is Tillman

Dehnhard’s recent publication The New Flute. Published in 2013, The New Flute is the newest and most accessible text on extended techniques. Comprehensive in its presentation of descriptions and

10 The title translates to “Present Day Flutes: Treatise on Contemporary Techniques of Transverse Flutes for the Use of Composers and Performers.” 11 Pierre-Yves and Gérard Geay, Flûtes au present: traité des techniques contemporaines sur les flûtes traversières à l'usage des compositeurs et des flutistes (Paris: Gérard Billaudot Éditeur, 1995). 12 “Hiroshi Koizumi.” Discogs. Accessed July 25, 2017. https://www.discogs.com/artist/712507-Hiroshi-Koizumi. Koizumi is known for his work with composers in contemporary music including as a founding player with the ensemble Sound Space “ark” and TOKK ensemble.

instructions, The New Flute also includes exercises, études and short pieces which he has written or arranged for C flute with extended techniques. Explanations and exercises for “Sing and Play,”

Bisbigliando, Whistle Tones, Wind (Aeolian) Noises, Percussive Sounds, Glissando, Harmonics, Circular

Breathing, Quarter tones and Multiphonics are included. The New Flute is the only text on the market which provides a pedagogical breakdown of beatboxing: a technique which is gaining popularity with contemporary flutists but lacks a pedagogical literature. A DVD with accompaniment is included with the book and several instructional videos are available on Dehnhard’s YouTube page. While The New Flute does not discuss the auxiliary flutes, it does provide a comprehensive base of techniques to test on the piccolo, as well as a highly organized and detailed model for my own research.

Robert Dick is an American flutist-pedagogue known for performing, composing and writing extensively about extended techniques for flute. He has written several books about contemporary flute playing, including Tone Development through Extended Techniques (1986) and Flying Lessons (1983) – a book of études, which present extended techniques in a pedagogical way. For the purposes of this dissertation, it is Dick’s 1989 manual The Other Flute: A Performance Manual of Contemporary

Techniques that is most beneficial. Dick does not discuss the practical application of extended techniques for any of the auxiliary flutes (piccolo, alto and bass flute) beyond a short mention of them in the introduction, however, because of its in-depth discussion of extended techniques for C-flute and the reputation of Dick as a pioneering contemporary flutist, it is an invaluable resource.

Aside from these six resources being used to test and confirm the viability of extended techniques on the piccolo, many textbooks, dissertations, journal articles, scores and online tools provide a historical context and enable the creation of a timeline for the development of extended techniques for the flute family. Several texts regarding the history and development of the modern flute have been published in recent years. These books help to track the chronological evolution of extended

techniques for the flute, as well as repertoire and mechanical developments, but do not offer fingering charts or advice for the performance of contemporary repertoire.

Three texts have been exceptionally informative regarding the history of the flute, in particular the mechanical innovations which led to the possibility of extended techniques. Nancy Toff’s book The

Flute Book, A Complete Guide for Students and Performers is an all-encompassing volume on the history of the flute, with practical advice for buying and caring for an instrument, as well as extensive sections on performance practice and repertoire. Toff’s section on the piccolo and chapter about modern music were most relevant to the present dissertation, however the entire book is an invaluable resource for dedicated flutists and non-players alike. Thomas Howell describes his 1974 book The Avant-Garde Flute as “an attempt to define the full range of the flute’s potential as a sound generator.” He has kept to this goal by discussing in great length four main categories of extended techniques: timbre and intonation, alteration of pitch and timbre via special fingerings, special effects (including percussive techniques, whistle tones, trumpet embouchure and multiphonics, among others), and amplification. The book provides 1826 fingering combinations and ‘descriptive notes’ regarding dynamic range, tone quality, response time and other details. Unfortunately, Howell does not explore the unique abilities of the auxiliary flutes. The Avant-Garde Flute has since been superseded by more current and comprehensive texts, however it provides an excellent basis for further research and testing of extended techniques on the piccolo. Special Effects for the Flute by Sheridon Stokes and Richard Condon was published in 1970 and presents discussions and fingering suggestions for key vibrato, quarter tone trills, “hollow” tones, pronounced pitch variation, double and triple tones (multiphonics), accents, whistle tones, singing and playing, harmonics, “unusual pulsations of the air column” (now known as smorzato), subtones, piccolo glissandi and muting the instrument. Stokes himself is an experienced piccolo player, having played with the Denver Symphony, the Twentieth Century Fox Orchestra.13

13 Sheridon Stokes, “About,” Sheridon Stokes. Accessed April 3, 2017. www.sheridonstokes.com.

In 1987 Dr. John Fonville, an American Flutist and professor at the University of California- San

Diego, self-published Microtonal Fingerings for Flute. The book offers a list of fingerings organized in ascending order across the entire range of the B-foot joint, open hole C-flute and includes a glossary with letter designations indicating the quality, pitch and dynamic of a given note. Microtonal Fingerings for Flute is not widely distributed, available only in seven American university libraries. While Fonville’s fingering chart is clear and easy to follow, the texts by Levine and Mitropolous-Bott, Koizumi, Artaud,

Dehnhard and Dick are far more comprehensive and widely used, thus Microtonal Fingerings for Flute was not selected as a primary text. It does however provide historical reference for microtonal flute playing in the United States in the late twentieth century.

There are several books written in recent years which are devoted to the piccolo. While none of these texts delve into the contemporary side of piccolo playing, each has made significant contributions to the literature surrounding the history and development of traditional classical piccolo playing. Further research is required to build upon the work of these authors and truly unlock the full contemporary capabilities of the piccolo. Three such resources were considered during the research portion of this project: Jan Gippo’s The Complete Piccolo is a comprehensive resource which provides the reader with a historical background of the piccolo (including orchestral and military uses); detailed repertoire lists and extensive fingering charts. Andrew Lane’s book Piccolo Craft, The Teach-Yourself Piccolo Method was published in 2008 and includes a range of playing exercises as well as narrative sections designed to guide a beginner piccolo player through a variety of subjects and situations. Clement Barone’s book

Learning the Piccolo – A Treatise on the Subtleties and Problems of Playing the Piccolo in Relation to the

Flute has also been a source of much historical and pedagogical information for piccolo players.14

14 Barone is a highly respected piccolo player, having been with the Detroit Symphony for 33 years and serving as an associate professor at the Wayne State University and the University of Michigan.

Learning the Piccolo is comprised primarily of études and excerpts of pieces with instruction and practical advice from Barone’s own experience.

In addition to instrument specific texts, several music history books have been invaluable to the research process: Bartolozzi’s New Sounds for Woodwind was the first book to provide detailed descriptions and fingering charts for a variety of extended techniques on flute, oboe, clarinet and bassoon. Published in 1967, New Sounds has provided the foundation for all future research into these techniques. Bartolozzi lists the following techniques as possibilities on the flute: harmonics, timbres

(using bisbigliando fingerings but without trilling), timbral transformations, smorzato, vibrato effects

(including pitch bending to the alterations of quarter tone and three-quarter tone sharp or flat), microtones, glissandi and portamento with fingers and lips, bisbigliando (which Bartolozzi identifies as tonal colouration through the use of trilling “of holes and keys which are not used in the performance of the phrase itself”15) followed by an extensive discussion surrounding multiphonics. Bartolozzi’s research of multiphonics is extensive, including descriptions of how to move from a single pitch to a multiphonic; the use of multiphonics in which the pitches have different timbres; and the use of aleatory fingerings which Bartolozzi says are unavailable on flute. Given that New Sounds covers these topics for each of the four major woodwinds – flute, oboe, clarinet and bassoon – it is not surprising that Bartolozzi refrained from exploring the area of auxiliary woodwinds. He does, however, lay the groundwork for others to build on his research. The thoroughness with which Bartolozzi understands and presents these new sounds is staggering. No other single volume of research provides such in-depth research on all four woodwind families. New Sounds for Woodwind has also been beneficial to the present dissertation for providing a historical marker by which to evaluate the rate of development of extended techniques for flute.

15 Bruno Bartolozzi, New Sounds for Woodwind (London: University Press, 1982), 38.

Books written by and about Brian Ferneyhough and his music are plentiful and have been useful in establishing a knowledge of the composer and his complex musical style. Brian Ferneyhough by Lois

Fitch is equal parts biography and collection of writings on Ferneyhough and his compositional style.

This collection of writings is beneficial to anyone looking to further understand Ferneyhough’s place in the New Complexity movement and provides detailed accounts of many of his major compositions, including Superscriptio and the larger work Carceri d’Invenzione, of which Superscriptio is a part. Brian

Ferneyhough’s own Collected Writings, published in 1995 and edited by Richard Toop and James Boros, is the only major collection which brings together the majority of the composer's own writings, along with some edited transcripts of informal talks as well as major interviews. This book combines the writings of Ferneyhough on both his compositions and also his life as a composer and teacher. It provides insight into Ferneyhough’s thought processes surrounding the composition of Superscriptio and his methods in general.

With the increased interest in contemporary composition and extended techniques, flutists were pushed to step into the role of researchers. Articles regarding the production of extended techniques began surfacing in the early 1960s. These articles have been surveyed for the purposes of the present dissertation and the most useful have been included in this literature review. Robert

Cantrick and John C. Heiss are acknowledged as pioneers of contemporary flute playing and their research, most of which is published in major music journals or available to the general public online, laid the groundwork for the research of other flutists (including the authors of the four authoritative texts used for the primary research of this dissertation). Cantrick wrote “Buzzing the Flute” for The

Instrumentalist in 1963 but it was not his only writing on the subject of extended techniques for the flute. The techniques discussed in “Buzzing the Flute” were the precursor to modern techniques now part of the regular vocabulary for contemporary flutists. The “buzz” sound Cantrick discovered is now known as the “trumpet sound” technique, and his writings of 1963 were accompanied by a fingering

chart that is now available online.16 Cantrick also wrote about five extended techniques in an unpublished monograph titled The New Humanism of the Performing Arts: the Air Rush (now known as the Jet Whistle), the Buzz (trumpet sound), “Ht” (which Cantrick likens to a reed players’ slap tongue technique), and the Pop (pizzicato tonguing).17

Cantrick’s writings were followed by three articles by John C. Heiss on the subject of extended techniques for the flute and other woodwind instruments, published between 1966 to 1972 in

Perspectives on New Music. “For Flute: A List of of Double-Stops, Triple-Stops, Quadruple-stops, and

Shakes” is the first article for on multiphonics for the flute. “Some Multiple-Sonorities for Flute, Oboe,

Clarinet and Bassoon” was published in 1968 two years after “For Flute” and provides a more in depth look at the world of multiphonics for the main woodwind instruments. Heiss’ third article, “For Flute:

New Sounds,” published in 1972, offers his most up-to-date discoveries. Heiss says

Recent developments in the sound-production possibilities on my own instrument, the flute, lead me to offer an updated report … the techniques presented here are divisible into four categories: (I) extension of the low register of the flute, with modified timbre, by an octave downward, (II) production of “harmonics” or more precisely, muted tones in the conventional low register, (III) introduction of noise elements into normal tone, and (IV) some recently discovered multiple-sonorities.18

Although intended for the general public, articles from several major newspapers have been beneficial to this project. Journalist Tom Service’s article for The Guardian, “A Guide to Brian

Ferneyhough’s Music,” was beneficial in preparing to learn Superscriptio.19 To this same end, Anne

16 Cantrick passed away in 2006 but his research and audio recordings are available online, including a fourteen- minute sample of the various extended techniques he researched. Robert B. Cantrick, Semantics and Music. Accessed March 4, 2018. http://cantrick-semantics-music.csdco.com/music.html#flute. 17 Ibid. 18 John C. Heiss. “For Flute: New Sounds,” Perspectives of New Music 10, No. 2 (1972): 153. 19 Tom Service, “A Guide to Brian Ferneyhough’s Music,” The Guardian. 10 September 2012. https://www.theguardian.com/music/tomserviceblog/2012/sep/10/contemporary-music-guide-brian- ferneyhough.

Midgette’s article “A Carefully Built World Where Nothing is Simple” in the New York Times (April 2005) was used for providing the social and cultural context for Ferneyhough’s music.20 Dr. Ellen Waterman published the article “Cassandra’s Dream Song: A Literary Feminist Perspective” in Perspectives of New

Music’s 1994 summer volume.21 Her discussion of Ferneyhough’s compositional process for the solo flute piece Cassandra’s Dream Song highlighted some similarities to the writing of Superscriptio and further enhanced the learning process of that particular work. Ian Pace offers a review of other publications and writings on Ferneyhough, referencing his compositional process and overall style in general in the article “Positions, Methodologies and Aesthetics in the Published Discourse about Brian

Ferneyhough: A Critical Study.”22 Pace’s writings have been published in The Musical Times, Tempo,

Contemporary Music Review, International Piano, Open Space Magazine and others.23 Pace’s authority on new music and composer Brian Ferneyhough are invaluable to the preparation of the solo piccolo piece Superscriptio.

Musicologist Richard Toop published his highly information article “On Superscriptio: An

Interview with Brian Ferneyhough, and an Analysis” in Contemporary Music Review in 1995. Toop’s interview with Ferneyhough offers specific insight into the structure of Superscriptio and its place in the

1986 seven-part cycle Carceri d'Invenzione. Toop compares Superscriptio to other solo flute works by

Ferneyhough (namely, Unity Capsule) and offers a compositional analysis organized by musical sections.

Both the interview and analysis offer great insight for any performer looking to prepare Superscriptio for performance and have proven to be very useful in that process for this author.

20 Anne Midgette, “A Carefully Built World Where Nothing is Simple,” New York Times. 25 April 2005. https://www.nytimes.com/2005/04/25/arts/music/a-carefully-built-world-where-nothing-is-simple.html. 21 Ellen Waterman, “Cassandra’s Dream Song: A Literary Feminist Perspective,” Perspectives of New Music 32, No. 2 (1994): 154. 22 Ian Pace, “Positions, Methodologies and Aesthetics in the Published Discourse about Brian Ferneyhough: A Critical Study,” Journal for New Music and Culture, No. 11 (2015): 1-71. http://www.searchnewmusic.org/pace.pdf. 23 Ian Pace, “Biography,” Ian Pace. Accessed March 4, 2018. www.ianpace.com.

American flutist Nina Perlove has published an interview discussing contemporary flute techniques. Perlove interviewed Sophie Cherrier – flutist of the Ensemble Intercontemporain – for her

1998 article “Transmission, Interpretation, Collaboration – A Performer’s Perspective on the Language of

Contemporary Music: An Interview with Sophie Cherrier ” in Perspectives of New Music. The interview and resulting article offer insight into the interpretation and explanation of extended techniques in contemporary repertoire and the importance of the composer-flutist relationship.

Dissertations About the Piccolo

The use of dissertations and other academic research has provided a wealth of information and resources useful to the project at hand. These dissertations range in subject matter from the historical development of the piccolo on a broad scale, to the development of extended techniques for the flute, to general pedagogy for piccolo and specific pedagogy surrounding extended techniques for the flute.

Additionally, other dissertations detailing the development of alto and bass flutes – both as solo and contemporary instruments – have informed the context of the piccolo’s evolution.

Dissertations written about the piccolo are limited in comparison to those written about the C flute. There are several key dissertations regarding the universal pedagogy of piccolo and the biographies and pedagogy of specific piccolo players. Emily Orr’s dissertation Teaching the Piccolo: A

Survey of Selected College Flute Teachers is a study of college-level flute teachers to discern the current trends in American piccolo pedagogy. Orr’s study looks at instruments and pedagogical materials as well as pedagogical techniques, and their relationships to the size of the studio and course requirements of the teacher or college. This dissertation informs my own research on the history and development of the piccolo as a solo instrument, particularly regarding repertoire. Joseph Roseman’s dissertation William

Hebert: Fundamentals of Playing and Teaching Piccolo discusses the life and pedagogy of William

Hebert, Cleveland Orchestra’s piccoloist from 1947-88. This dissertation looks at pedagogical methods

within the categories of intonation, articulation, phrasing, embouchure, breathing, vibrato, dynamics and tone colours. It also investigates the early use of method books and solo literature during Hebert’s teaching career. This dissertation provides beneficial information on the development of piccolo pedagogy and solo repertoire.

Two dissertations have been key in contributing to an understanding of the history and development of the piccolo. The Mechanical Development of the Piccolo is a very interesting dissertation, written by Angela Heck from the University of Oklahoma, which looks at the design and technology of the piccolo from ancient times through to modern day instruments. For the purposes of this dissertation, Heck’s Chapter IV on the modern piccolo was most relevant. She delves into the various types of materials used in modern piccolos as well as innovations for key work particularly by flute maker James Keefe. Of particular relevance is Heck’s discussion of the pursuit of an open hole, quarter tone key system piccolo, a design initiated by John Fonville at the 1992 National Flute

Association convention. This instrument has yet to be mass-produced for public retail consumption. Of additional interest to this author is the discussion of low C foot joints and tube extensions as well as piccolos with adjustable pitch. Zart Dombourian-Eby, piccoloist of the Seattle Symphony and member of the Piccolo Committee of the National Flute Association (responsible for commissioning much of the repertoire to be discussed in Chapter One), wrote her doctoral dissertation on the use of the piccolo in the nineteenth-century orchestra. The Piccolo in the Nineteenth Century has been beneficial in providing a comprehensive history of the piccolo’s growth from its first roles in opera and symphonic orchestra.

Writings on compositions provide context for the evolution of the repertoire, and particularly the development of a body of solo works. The most relevant of these was Jennifer A. Wilhelm’s research contained in her dissertation Diffraction and Sgothan: Motive, Rhythm, and Time in Two Works by James

Dillon. Scholarly writing on the flute music of James Dillon is limited, therefore Wilhelm’s work is a highly valuable piece of literature. This dissertation was useful in guiding the analysis of Diffraction in

preparation for performance and understanding more about the compositional style of Dillon. Lisa A.

Jelle’s 2000 dissertation The Flute and Piccolo Music of Martin Amlin: An Introduction, Discussion and

Analyses of the Sonata for Flute and Piano, Trio Sonatina for flute clarinet and piano, and Sonata for

Piccolo and Piano provides a detailed look at a significant work in the piccolo repertoire. Amlin’s compositional style is a complex blend of twentieth-century techniques and a close look at his Sonata for Piccolo and Piano is crucial to the development of a timeline of contemporary piccolo repertoire.

A detailed knowledge of extended techniques for the C-flute, including the history and development of those techniques and their use in both pedagogy and composition, is imperative to understanding the piccolo’s ascent to popularity in new music and its own vocabulary of extended techniques. Several dissertations have been written on this subject and provide a wealth of information and focused research on these aspects of the evolution of the modern flute. Rebecca Rae Meador’s dissertation A History of Extended Flute Techniques and an Examination of Their Potential as a Teaching

Tool is a highly informative doctoral dissertation, written in 2001, which outlines the development of the flute’s extended techniques from the time of Debussy through to current day. Meador’s work has been invaluable in helping to give historical context to research regarding the same subject for the piccolo.

Julia Ann Larson wrote the dissertation Flute Without Accompaniment: Works from Debussy:

"Syrinx" (1913) to Varèse; "Density 21.5" (1936) in 1990 to outline the development of modern flute repertoire between the publication of two landmark pieces. Many academics credit Syrinx and Density

21.5 as being the primary catalysts for the contemporary flute trend, however Larson cites twelve other pieces which served as stepping stones on the path to avant-garde solo flute repertoire. Larson’s dissertation has informed the historical aspect of this project and provides useful insights into compositional aspects used by composers in the early twentieth century.

Lisa Marie Melick’s dissertation Twentieth-Century Techniques in Flute Literature: Learning and

Teaching Multiphonics is a detailed review of the development of multiphonics for C-, alto and bass

Flute. Melick does not include a fingering chart or discuss multiphonics for piccolo, however she offers interesting justification and anecdotes surrounding the instruction of multiphonics to young flutists, as well as a useful list of repertoire containing these techniques, and a performance manual for Robert

Dick’s Green House. Melick’s own literature review is similar to that for this document.

In 2012 Mark Takeshi McGregor published his dissertation titled Of Instrumental Value: Flutist-

Composer Collaboration in the Creation of New Music at the University of British Columbia. McGregor’s research looks at the contributions of Severino Gazzelloni and Robert Aitken to the creation of new flute music in the twentieth and twenty-first centuries. Additionally, McGregor looks and his own collaborations with three Canadian composers and compares those interactions with those of Gazzelloni and Aitken. McGregor’s research is of great value to the present dissertation, adding valuable historical background and context to the development of the piccolo as a contemporary soloist.

Websites, Blogs, Online Tools & Resources

The advent of the technological age has simplified the process of accessing and disseminating information. Three exceptional online resources have been developed in recent years. This kind of accessible online resource is more appealing to younger generations of flutists and composers. It is possible that web pages such as Flouble, FluteXpansions or The Virtual Flute could be developed into apps for smart phones and tablets, thus making extended flute techniques available at the fingertips of every flutist around the world. These valuable tools will no doubt grow in popularity and use as they become more widely known to the general musical public. Flouble is a software tool for multiphonic double stops – two notes at once – created by Hungarian flutist Gergely Ittzes. There are approximately five hundred double stops included on the website. The software can be downloaded to a computer, or the information is available in a downloadable chart in PDF format. FluteXpansions is, in its author’s words, “an online laboratory for performers and composers to learn and explore sounds of the

contemporary flute.”24 The website offers a comprehensive list of repertoire which can be sorted by user-chosen parameters, videos on technique production and links to other contemporary resources.

FluteXpansions is positioned to quickly become the main, digital authority for extended techniques on the C-flute. The Virtual Flute is an online tool which uses a computer to generate fingerings for single pitches and multiphonics.25 The tool was launched in 2001 as an undergraduate engineering thesis project by Andrew Botros from The University of New South Wales. According to the accompanying article “The Virtual Flute: An Advanced Fingering Guide Generated Via Machine Intelligence,” the alternative fingerings provided by the online tool offers “variations in intonation and timbre, and can be easier to play in different musical contexts.”26 The Virtual Flute has multiple search functions, including inputting the fingering to search for available singular and multiple pitches, selecting a note on the staff to find alternate fingerings, trills and microtones, and searching for fingerings for user-specified multiphonics with up to three pitches. The user can also set search parameters such as what type of foot joint their instrument has, or which keys they wish to be included (or excluded) from the search. This last feature is the most important as it enables users to only select those keys which are available on the piccolo.

Personal blogs and websites of professional flutists offer access and communication between musicians, academics and general interest readers around the world. Blog posts by international professional flutists have offered insight and first-hand experience to the research conducted for this dissertation. The blog of flutist Helen Bledsoe, solo flutist of the Cologne based contemporary group

Ensemble Musikfabrik, offers two articles on Brian Ferneyhough, and in particular his solo piccolo piece

24 FluteXpansions. “About,” FluteXpansions. Accessed January 14, 2017. www.flutexpansions.com. 25 Andrew Botros, “About the Virtual Flute,” The Virtual Flute. 2001-2014. Accessed March 12, 2017. http://flute.fingerings.info/. 26 Andrew Botros, John Smith and Joe Wolfe. “The Virtual Flute: An Advanced Fingering Guide Generated Via Machine Intelligence,” Journal of New Music Research 35, No. 3 (2006): Abstract.

Superscriptio which will be discussed in Chapter Three of this dissertation, as well as many other topics surrounding extended techniques and contemporary flute playing.

Roger Pijper’s website Flute Colors is a comprehensive online resource which accompanies his published text of the same name. Flute Colors undertakes the discussion of a wide range of techniques including bamboo tones, circular breathing, flutter tongue, harmonics, jet whistle, keyclicks, microtones, quarter tones, multiphonics, pizzicato and slap tonguing, singing while playing, tongue stop/ram, trumpet embouchure, whistle tones and wind tones. Pijper includes notation, advice on whether the technique can be used on piccolo, alto or bass flutes, level of difficulty, and repertoire or books which the technique appears in.27

Jennifer Cluff is a Canadian flutist who has been writing articles and blog posts on her website, www.jennifercluff.com, and in major flute publications such as The Flutist Quarterly (national publication of the National Flute Association) and Flute Wise (flute magazine of the United Kingdom).

Ms. Cluff’s website includes articles on pedagogy, repertoire, orchestral excerpts, fingering charts, links to YouTube videos and sheet music available for purchase or free downloads. Her articles on extended techniques and contemporary repertoire lists have been particularly beneficial to this dissertation.

Dutch-flutist Will Offermans runs the website For the Contemporary Flutist, which is the companion website to the étude book by the same name. The website offers a wealth of information which builds on the études and instructional material included in the book. There are audio clips and videos, as well as detailed diagrams on the physics of sound. Offermans also runs a Facebook page by the same name which regularly shares updated information, tips and tricks for flutists working on their contemporary skills.

27 Roger Pijper, “Flute Colors Method,” Flute Colors. Accessed March 4, 2018. www.flutecolors.com.

Musical Scores

Scores and étude books have been beneficial to the establishment of a timeline for the development of extended techniques for flute, as well as surveying the pedagogical implementation of such techniques.

The scores for the four pieces included in Chapter Three of this dissertation are crucial to the success of the chapter in guiding a piccolo player through the learning process for each of these works. This group of works is demonstrative of both late twentieth century and early twenty-first century contemporary writing and together they make use of a broad spectrum of the techniques discussed in this dissertation.

The editions used here are the preference of the author, however it should be noted that there are multiple editions of both the Donatoni and Ferneyhough pieces. The Edition Peters versions of

Diffraction and Superscriptio were used, along with the Ricordi edition of Donatoni’s Nidi. Lachrymose, by Canadian composer Derek Charke, is published by and available for rental or purchase through the

Canadian Music Centre. The scores were used for both analysis and performance and these editions are referenced heavily throughout the performance guide portion of this dissertation.

The following books have been identified as major influences in the development of contemporary flute pedagogy and performance: French flutist Aurele Nicolet has published a volume of studies for flute, titled Pro Musica Nova: Studies for Playing Avant-Garde Music.28 The book covers a wide range of topics including circular breathing, harmonics and multiphonics and includes extensive notes, in both English and German, about how to produce the techniques and execute them in the context of the pieces enclosed. The pieces in Pro Musica Nova were written for Nicolet by a variety of composers. Published in 1973, Pro Musica Nova is one of the first study books on extended techniques.

Robert Dick’s Flying Lessons are two volumes subtitled “Six Contemporary Concert Études.” The collection was published in 1985 and won the National Flute Association Competition for Newly

Published Music. Flying Lessons includes a glossary of signs and symbols used in the piece – ranging from

28 Aurèle Nicolet, Pro Musica Nova: Studies for Playing Avant-Garde Music (Wiesbaden: Breitkopf & Hartel, 1974).

fingering diagrams, intonation, harmonics, angling the flute to adjust the timbre, percussive sonorities, instructions on singing and playing, glissandi, pitch bends and residual tones (aeolian sounds). Each of the studies uses a different set of techniques and has its own unique character. The studies are however somewhat complex and would not be best suited to a player who is just learning to incorporate these techniques into their playing.

François Veilhan is the flutist-composer behind the book Sonorité et techniques contemporaines

à la flûte traversière, published in 1992 by Edition Henry Lemoine. The book is lesser known than the others mentioned in this literature review, however it is comprehensive in its coverage of topics and the pedagogically sound way in which it is organized. Veilhan covers whistle tones, flutter tongues, harmonics, key noises, tongue ram, pizzicato, multiple sounds (multiphonics), aeolian sounds, micro- intervals and glissandi. The first section of the text comprises nine studies using the techniques listed in the glossary. The second half of the book comes with the advisory from Veilhan that if the player wishes

“to study methodically a new technique or a special point of your sonority, choose the corresponding chapter, first refer to the exercises of the second part and then develop this approach with the help of the study in the first part).”29 A detailed set of exercises prepares the player to incorporate the techniques into standard études and repertoire.

In addition to several articles and other books, Pierre-Yves Artaud has authored two “exercise books,” or collections of studies, titled La Flûte Multiphonique - Études pour la flûte traversière (“The

Multiphonic Flute – Studies for Flute”) and Harmoniques Cahier d'exercices : Monophoniques et

Polyphoniques pour flûte, (“Harmonics for Flute – Exercise book: Simple Notes and Multisounds for

29 François Veilhan, Sonorité et techniques contemporaines à la flûte traversière (Paris: Edition Henry Lemoine, 1992), 18.

Flute”).30 These two books, published by Billaudot in 1995 and 1992 respectively, provide detailed descriptions on basic principles, types of techniques within the general categories of their titles and a variety of exercises meant to assist the player in mastering the execution of the techniques.

Additionally, La Flûte Multiphonique contains a transcript (and English translation) of George Bayr’s 1824 treatise Méthode pour des sons doubles à la flute, Volume 1, a document which has been important in the establishment of a timeline of recorded interest in multiphonics on the flute. Unfortunately, a copy of Méthode pour des sons doubles à la flute, Volume 1 was unable to be located and seems to have been lost from the literature, and so the translation of the excerpt has been used as a source for the present dissertation in lieu of the full document.

Literature Review Summary

A detailed review of the history and development of extended techniques for the C-flute, as well as the advancement of the alto flute, bass flute, other woodwinds and their auxiliaries, has enabled a thorough understanding of the context for this document. The piccolo’s acceptance as a solo instrument, and the establishment of a spectrum of extended techniques, has culminated in the formation of a considerable repertoire and pedagogical methods. This dissertation is the result of my own practical knowledge of the instrument in combination with the research of other flutists. The use of journal articles, books, scores, method books, blogs and online tools have facilitated the creation of this comprehensive document. As further research becomes available, the information in this dissertation will be updated in the accompanying online resource, found at www.moderntwig.ca.

30 Pierre-Yves Artaud, La Flûte Multiphonique - Études pour la flûte traversière (Paris: Gérard Billaudot Éditeur, 1995) and Harmoniques Cahier d'exercices : Monophoniques et Polyphoniques pour flûte, (Paris: Gérard Billaudot Éditeur, 1992).

THE CREATION OF A MODERN FLUTE: INFLUENCES OF THE EIGHTEENTH- AND NINETEENTH-CENTURIES

The flute of the eighteenth-century and earlier was employed as a purely melodic instrument, and solo repertoire, in comparison to that of the keyboard or string instruments, was limited. Early flute music consisted mostly of lyrical or programmatic works – tuneful melodies and novelty themes that were often based on dances or the impersonation of birds. According to Nancy Toff, the early-nineteenth century was a time of great enthusiasm for the flute: “for perhaps the only time in history, wind soloists enjoyed status commensurate with that of their string colleagues.”31

Three flute players from the late-eighteenth and early-nineteenth century are considered leaders in the flute’s advancement as a prominent solo instrument. Charles Nicholson, Charles De Lusse, and George Bayr were pioneering flute virtuosi whose ideas and playing styles forged a new path for the flute as the turn of the century approached. The work of these flutists laid the foundation for further expansion of the flute timbre by twentieth-century players and pedagogues like Robert Dick, Pierre-Yves

Artaud and many others. The playing styles and innovative problem-solving of Nicholson, De Lusse and

Bayr completely changed the way that players, composers and audiences would think about the flute in the years to follow.

Charles Nicholson (1795 – 1837) was an English flute virtuoso and professor at the Royal

Academy of Music in 1823 who influenced both the playing techniques and construction of the modern instrument. According to Philip Bate and Christina Bashford of Grove Music Online, Nicholson was a man of significant stature and size, which enabled him to use a flute with unusually large tone holes.32 As a

31 Nancy Toff, The Development of the Modern Flute (New York: Taplinger Publishing Co., 1979), 44. 32 Philip Bate and Christina Bashford, “Charles Nicholson, Flute.” In Grove Music Online. Oxford University Press, 20 January 2001. Accessed July 16, 2017. https://doi- org.myaccess.library.utoronto.ca/10.1093/gmo/9781561592630.article.19873.

result, Nicholson’s sound was powerful and his technical facility second to none. Though his tone was not universally admired, Nicholson’s creative use of then modern techniques such as vibrato, glissandi, finger vibration and harmonics were exciting, bold and unnerving.33 The use of harmonic fingerings, in particular those used to facilitate smooth fingering patterns or to engage a particular timbre, became a hallmark of Nicholson’s performances.34 According to Meador, Nicholson chose harmonics based on their expressive purpose and as a result this technique became popular among composers. Examples can be seen in Franz Doppler’s Fantaisie Pastorale Hongroise, where the technique is incorporated as a special effect.35 Charles Nicholson is now acknowledged as one of the earliest great English flute virtuosos, comparable to his violin-playing colleague Niccolò Paganini.36

Nicholson’s colleague, the French flutist-composer Charles De Lusse, was an eighteenth-century flutist of the highest calibre. He became known for using harmonics, multiple forms of vibrato and tonguing, and timbral effects such as martellement (shakes created by moving the fingers over the open holes of the flute).37 De Lusse’s Six Sonatas for Flute and Continuo, Op. 1, published in the 1750s are one of the first works to require harmonic arpeggios. Sonata No. 6 uses these harmonic arpeggios as an expressive device and is also one of the first instances of double tonguing being required of flutists. De

Lusse, like Nicholson, also used harmonic fingerings as an option for handling difficult technical passages.38 De Lusse is credited with being one of the first to publish microtonal fingering charts, which, in the late 1700s, were quite radical. These charts appeared in later editions of De Lusse’s treatise L’art

33 Ibid. 34 Nancy Toff, The Flute Book (New York: Charles Scibner’s Sons, 1985), 37. 35 Rebecca Rae Meador, “History of Extended Flute Techniques and an Examination of Their Potential as a Teaching Tool” (DMA Diss., University of Cincinnati, College-Conservatory of Music, 2001), 7. 36 Nancy Toff, The Flute Book (New York: Charles Scibner’s Sons, 1985), 143. 37Rebecca Rae Meador, “History of Extended Flute Techniques and an Examination of Their Potential as a Teaching Tool” (DMA Diss., University of Cincinnati, College-Conservatory of Music, 2001), 5. 38 Ibid.

de la flûte traversière.39 De Lusse’s piece Air à la grecque features these quarter tones, which at the time of its publication in 1760 were not in regular use by other flutists.40

De Lusse’s groundbreaking work was supplemented by detailed explorations into the flute’s multiphonic capabilities by Dutch flutist Georg Bayr. Bayr’s treatise Méthode pour des sons doubles à la flûte, volume 1 (published in Vienna, circa 1824) is one of the earliest known publications detailing the method of production of multiphonics on the flute and would have provided introductory information to nineteenth century flutists looking to explore the world of multisounds on the flute. The existence of this treatise is important in the establishment of a timeline of recorded interest in multiphonics on the flute. Unfortunately, Méthode pour des sons doubles à la flute, Volume 1 was unable to be located and seems to have been lost from the literature. In lieu of a complete copy of the document, I have relied on a translation of an excerpt from the treatise, published in Artaud’s La Flûte Multiphonique. According to this translation, Méthode pour des sons doubles à la flûte includes detailed instructions on how to execute each multiphonic, as well as fingering charts and supplemental exercises for practicing the techniques.

At the time when Méthode pour des sons doubles à la flûte, volume 1 was written, several different models of flutes, each with their own key systems, would have been commonplace among flutists. The most popular flute of Bayr’s time was the eight-keyed flute, however instruments with as many as seventeen keys were also available.41 Bayr’s multiphonics required a specific set of keys, which he listed as: the C key no. 1, the lever no. 2, the Bb no. 1, the G sharp nos. 1 and 2, the F no. 1 and 2, and

39 This dissertation used the 1980 Buren edition of L’art de la flûte traversière. 40 Charles DeLusse and Rudolf Rasch, “Air à la grecque,” Corpus microtonale: a series of microtonal compositions. (Utrecht: Diapson, 1980). 41 Rebecca Rae Meador, “History of Extended Flute Techniques and an Examination of Their Potential as a Teaching Tool” (DMA Diss., University of Cincinnati, College-Conservatory of Music, 2001), 9.

the E keys in order to replicate the sounds listed in the book.42 Additionally, the G# key needs to be able to be vented slightly and the use of half holes was required for producing some of the multiphonics.

The many makes and models of flutes available at this time made consistency of intonation, technique, and facility quite challenging. In comparison to string instruments flutes suffered from severe intonational discrepancies and lacked the brilliant and powerful sound which was becoming more popular as performances shifted from salon to concert hall, and chamber groups became full sized symphony orchestras.43 Nicholson’s instrument had large tone holes which facilitated his robust sound and Bayr’s specifications in Méthode pour des sons doubles à la flûte swayed the choice of players who were experimenting with these techniques. Both players had significant impact in subsequent design of flutes in the eighteenth and nineteenth centuries.

By the end of the eighteenth-century flute makers were experimenting with different bore widths, tube lengths, key systems, materials. Theobald Boehm was the son of a jewelry maker and as a young man became interested in making musical instruments instead of jewelry. Through extensive research, Boehm concluded that to create the power and brilliant sound performers were after, the instrument would need a complete redesign.44 Early models of Boehm’s flutes featured slight modifications on the pre-existing German flute: The A hole was brought down to its acoustically correct position and an open key mechanism was used to reach it. Boehm continued to develop his instrument from this initial 1831 model – with contributions by Auguste Buffet, Victor Coche, and Vincent Dorus – until 1847 when Boehm began experimenting with metal tubes (instead of the previously popular wooden flute body) and a cylindrical, instead of conical, shape The 1847 flute adopted the sleeves and rods from Buffet’s instruments, interconnected keys linked by clutches which were controlled by

42 Ibid., 8. 43 Nancy Toff, The Development of the Modern Flute (New York: Taplinger Publishing Co., 1979), 45. 44 Ibid., 49.

screws.45 The only alterations that would be made after Boehm’s 1847 model flute would be the addition of Giulio Briccialdi’s B-flat thumb lever in 1849, and the invention of the closed G-sharp key in

1877. With its nine-finger mechanism, a stability of intonation which was unrivalled by other brands of instrument, and a beautiful tone quality, Boehm’s instrument quickly became the flute of choice for most performers.46 Boehm’s flute enabled new technical feats which sky rocketed the flute to both popularity and virtuosity.

Large Scale Influences on the Development of the Modern Flute

Several larger scale factors have contributed to the rise of the flute family as instruments of contemporary prowess. In the nineteenth century, composers of orchestral music began experimenting with more unconventional sounds in symphonic repertoire. This exploration of new sounds would spark a shift in priorities and interests of composers in the late-nineteenth and early-twentieth centuries. This new modern era brought with it several compositional styles and movements which shaped the music that was yet to come. As orchestra repertoire highlighted the extended abilities of the flute, composers and performers also saw a significant increase of interest in solo flute repertoire. More solo flute pieces were being written than ever before and with each new work came more experimentation into what sounds and timbres the flute could create.

Flute in the Nineteenth-Century Symphony Orchestra

Beginning in the nineteenth-century, the flute began taking on more substantial roles in symphonic music. As the flute began gaining traction as an instrument of many colours and capabilities, the movement for a departure from traditional symphonic writing was also gathering momentum. The

45 Ibid., 73. 46 Robert Dick, The Other Flute (New York: Multiple Breath Music Co., 1989), 1.

technical innovations of Boehm’s 1847 instrument enabled a radical enrichment of the flute’s capabilities and its repertoire in every domain. Composers began using the symphony orchestra as an experimental laboratory, pushing the boundaries of what was assumed that acoustic instruments could do. Symphonies by Beethoven and Brahms, for instance, often employed the flute for major solos and soli sections, all of which helped bring the instrument into the limelight. Beethoven was also the first composer to make use of the piccolo in the orchestral texture, featuring it in the fourth movement of

Symphony No. 5 (1804-08), and in the fourth movement (Allegro, also known as “the Storm”) of the

Sixth Symphony (1802-08). The flute solo of Brahms Symphony No. 4, written in 1885, remains one of the most famous of the entire repertoire.

Composers of the nineteenth-century also began experimenting with using the auxiliary flutes in their symphonic works. The piccolo was the first auxiliary flute to appear, starting with Beethoven and

Brahms but then also in more non-traditional works. In Hector Berlioz’s 1830 work Symphonie

Fantastique, the second flute player doubles on piccolo and is required to do a glissando in the fifth movement “Dream of a Witch’s Sabbath.” This is the first orchestral appearance of a technique which was common for string players but unfamiliar territory for flutists of the time.47 Shortly after the turn of the century, composers such as Ravel and Stravinsky used not only the piccolo but also the alto flute to enhance the sound of the woodwind section. The auxiliary flutes are now commonplace in the symphony orchestra, with many professional ensembles having a full-time piccolo player and per service roles for alto or bass flute as necessary.

Claude Debussy’s trail blazing use of the expressive flute sound served as the catalyst for the development of a completely revitalized, modern flute timbre. The iconic opening solo of his Prélude à l'après-midi d'un faune (1894) was highly influenced by the playing and teaching of Paul Taffanel. A

47 Rebecca Rae Meador, “History of Extended Flute Techniques and an Examination of Their Potential as a Teaching Tool” (DMA Diss., University of Cincinnati, College-Conservatory of Music, 2001), 10.

professor of flute at Paris Conservatory since 1893, Taffanel was a leader of the new French School of flute playing, famous for its use of subtle colours and nuances in the flute timbre. Nancy Toff describes this style of playing, saying:

Given the aesthetic aims and techniques, the flute, with its narrow dynamic range, its limitation to relatively short melodic units, its ‘microscopic focus,’ its ability to create subtle nuances of color[sic], and its affinities for the conjunct melodic line made it the ideal vehicle for Debussy.48

Debussy continued his experiments with the flute, which are highlighted in his landmark work Syrinx

(1913) for solo flute. Syrinx is often credited as being the first work which explores a wide variety of timbres and colors in the flute sound.49 The piece is commonly earmarked as the watershed composition for all contemporary repertoire which would follow in the mid and late-twentieth century. A more detailed look at this burst of compositional output, from Debussy through to Varèse and beyond, will take place in Chapter One.

A Shift in Musical Trends: Moving Towards Modernism

Musical experimentation was the hallmark of the late twentieth-century. The desire for new sounds and new ways of creating music provoked controversy and disrupted the classical traditions of tonality and structure to a more open-ended approach that used a wide variety of creative compositional techniques. These new approaches to composition can be categorized under broad headings, however the characteristics of these styles are often unique to a specific composer, or even to a particular piece.

The categories of atonality, serialism, texturalism, timbralism, indeterminacy and experimentalism encompass a wide range of innovative composers and performers and include more defined subcategories such as (but not limited to) conceptualism, biomusic, soundscapes, multimedia,

48 Nancy Toff, The Development of the Modern Flute (New York: Taplinger Publishing Co., 1979), 260. 49 Kristen Price, “Debussy’s Syrinx: Mystery, Myth and a Manuscript,” Flutist Quarterly 34, No. 1 (2008): 19.

electroacoustic music, algorithmic composition, minimalism and the integration of any combination of these techniques.

The twentieth century brought about a strong interest in the use of “non-musical” sounds in a musical setting. John Cage said, “whereas in the past, the point of disagreement has been between dissonance and consonance, it will be, in the immediate future, between noise and so-called musical sounds.”50 This idea is demonstrated fully in works of the mid to late twentieth-century, however it was born out of extensive experimentation in the early part of the century. Some of the earliest innovative work in modern music took place as early as 1912, when Luigi Russolo and the Italian Futurists began experimenting with noise sounds. Russolo’s manifesto The Art of Noise (1913) which advocated for new music having six types of noise: bangs, thunder claps and explosions; whistles hisses and snorts; whispers, murmurs, rustling and gurgling; screams, shrieks, buzzing, cackling, sounds produced by friction; sounds produced by striking metal, wood, stone, china and the like; animal and human cries – roars, howls, laughter, sobs, sighs. The leader of the Futurist movement Tommaso Marinetti outlined the goal of the movement as the “glorification of urban life, speed and noises of the machine age.”51

Both music and fine art of the futurist movement reflected the sounds of industrialism and influenced other composers in this general direction. Edgard Varèse used the sounds of sirens and the striking of an anvil in his piece Ionisation, and George Antheil’s 1924 Ballet Mecanique was so unusual it sparked a violent reaction from the audience.52

Later in the twentieth-century, composers begin to further expand their sonic resources by experimenting with the integration of other media and by inventing electronic instruments and computer programs which could compose and perform music without human intervention. It is only

50 John Cage, Silence: Lectures and Writings (Cambridge: The MIT Press, 1961), 4. 51 Luigi Russolo, The Art of Noise (1913), quoted in Glen Watkins, Soundings: Music in the Twentieth Century (New York: Schirmer Books, 1988), 236. 52 David Cope, New Directions in Music, seventh edition (Long Grove, IL: Waveland Press Inc., 2001), 57-58.

natural, then, that composers also explored the possibilities of acoustic instruments – pushing them far beyond their traditional sonorities, into new vocabularies which often included strange and unusual ways of producing those sounds. As Bartolozzi states:

Their [the performers] continued existence in the world of creative composition therefore depends to a very large extent on just what they have to offer the composer, just how much they can rouse his interest and provoke his fantasy. Some composers already show an obvious lack of interest in conventional instruments and have no hesitation in using the most unusual means in an effort to find new sonorities.53

It is from this idea that extended techniques were born. For the woodwind family, extended techniques fell into six main types: multiphonics, colour fingerings, jazz effects, percussive effects, the use of only the mouthpiece or other parts of the instrument, and extensions of traditional techniques (like alternative vibrato, flutter tonguing and circular breathing.) According to David Cope, “the previously discussed effects have also been used in combination or in conjunction with extracurricular performer activity,” things such as choreography, costumes, lighting effects and the addition of other instruments or modifiers to the primary instrument – all techniques which can be seen throughout the contemporary flute repertoire.54 This ‘wave of modernism’ would carry the flute, and all of its new sounds, into the spotlight as a virtuoso of the twentieth century.

CONCLUSION

A confluence of people, events and ideas resulted in a shift towards a musical culture of experimentation, revolution and reimagining. The flute was swept up in the current of this new culture and as a result a large variety of extended techniques were added to the instrument’s lexicon. The use

53 Bruno Bartolozzi, New Sounds for Woodwind. (London: Oxford University Press, 1967): 1. 54 David Cope, New Directions in Music, seventh edition. (Long Grove: Waveland Press Inc., 2001): 57-58.

of auxiliary flutes - and in particular, the piccolo - gave both payers and composers a vastly increased palette of sounds and colours.

As of the present day, the piccolo is the most underserved auxiliary flute, with dedicated research almost exclusively limited to the historical and pedagogical fields. The specialized research of this dissertation distinguishes it from other work surrounding the piccolo’s mechanical development, pedagogical methods and general history. The singular focus of this research defines it from other pre- existing resources which include limited information on the subject of extended techniques for piccolo.

As a result of the practical nature of this research, performers will have an authoritative manual from which to study and therefore enhance their performance of contemporary repertoire on the smallest flute. The accompanying website will offer online resources to supplement the information contained in the dissertation and serve as a hub for the continuation of related research by this author.

CHAPTER ONE, TECHNICOLOR DREAM FLUTE Contemporary Woodwind Techniques, Flute Repertoire and Piccolo Playing

in the Twentieth Century and Beyond

A WOODWIND REVOLUTION

The flute was not the first woodwind instrument to experience a surge of interest in contemporary writing. Similar developments were taking place amongst the other orchestral woodwinds, with interest being taken in what new sounds might be available on the oboe, clarinet, bassoon and their auxiliaries.

The rise of new sounds in orchestral music also led to exploration within the categories of solo and chamber music.

Edgard Varèse was one of the first composers who began writing woodwind music firmly rooted in experimentalist or avant-garde movements. Varèse and his colleague Stefan Wolpe were two of the main proponents of expanding the musical vocabulary of the oboe. Varèse and Wolpe began writing music for the oboe that was so complex and difficult, so beyond the scope of a player’s abilities at that time, that some refused to even try to play it.55 The oboe and it’s auxiliary, the Cor Anglais (English

Horn), now have many extended techniques available to them. These techniques include multiphonics, double trills, flutter tongue, glissando, microtonal trills, tremolos, smorzato, rolling tones, harmonics, key clicks and more miscellaneous sounds such as overblown notes, muting, noisy inhalations, playing the reed or bocal alone, playing with no reed, putting one’s teeth on the reed and the rheita technique

(putting one’s lips on the string of the reed and blowing).56

55 Nora Post, “Varèse, Wolpe and the Oboe,” Perspectives of New Music 20, No. ½ (1985): 141. http://www.jstor.org/stable/942409. 56 Libbey Van Cleve. Oboe Unbound: Contemporary Techniques (Maryland: Scarecrow Press, 2014): 84.

The oboe is also the only other woodwind instrument to have had developed an alternative key system which enables extended techniques. Christopher Redgate, in partnership with the retailer

Howarth of London, has created the “21st Century Oboe” project, which has resulted in the development of a modern oboe key system.57 This key system facilitates an extended high register (altissimo), microtones, multiphonics and eases the production of flutter-tonguing and glissandi.58

The clarinet family’s transition into the twenty-first century also came with the development of a variety of extended techniques – including microtones, multiphonics, glissandi, singing while playing, percussive sounds and even playing only parts of the instrument. The clarinet has a range of contemporary repertoire including major works by Berio, Messiaen, Penderecki, and Denisov. The auxiliary instruments of the clarinet family have also experienced a surge of interest and experimentation. The bass clarinet has an extensive modern repertoire including pieces by Babbit, Berio,

Birtwistle, Boulez, Denisov and Donatoni among many others. Its range of extended techniques is comparable to the standard B-flat clarinet, with percussive and articulatory sounds having more resonance due to the size of the instrument. Meanwhile, the basset horn has developed a unique identity in the contemporary repertoire with Karlheinz Stockhausen and Suzanne Stephens as its champions.59 Stockhausen wrote extensively for the basset horn, and the instrument is featured in many

57 Redgate is the Evelyn Barbirolli Research Fellow at the Royal Academy of Music, London UK. It is through this and the generous sponsorship of the Arts and Humanities Research Council Fellowship that he has been able to dedicate his life’s work to the development of the modern oboe. 58 Christopher Redgate, “The Re-Designed Oboe!,” The 21st Century Oboe. Accessed October 23, 2016. www.21stcenturyoboe.com. 59 Suzanne Stephens (b. 1946) is an American-born clarinetist who currently resides in Germany and is known for her association with Stockhausen. Stephens promotes the clarinet but also the basset horn as a solo instrument and has won international accolades for her performances, including the Kranichsteiner Musikpreis at Darmstadt. She has performed Stockhausen’s music around the world and has dedicated her career to preserving these pieces and coaching others’ performances of them.

of his compositions from the opera Licht. Stockhausen’s catalogue features over fifty works for basset horn and another thirty-two works which use the clarinet.60

The bassoon has the most limited contemporary repertoire of all the woodwinds and, like the piccolo, suffers from a reputation of being extremely difficult and temperamental. Rebekah Heller, bassoonist of the International Contemporary Ensemble, illuminated on this in a telephone conversation with me. Heller said that, as with the piccolo, the belief that the bassoon is contrary and difficult to play contemporary music on is mostly a misconception: “there just aren’t enough performers who are willing to try.” The bassoon can perform a variety of techniques which include singing while playing, harmonics, whistle tones, extreme register, tremolos, glissandos, bisbigliandi, colour trills, quarter tones, slap and flutter tonguing, controlled two-tone beatings, roll tones, multiphonics, air sounds and more. Heller has been promoting the instrument and pushing its boundaries since she joined the International

Contemporary Ensemble in 2008. She attributes the rise in popularity of the instrument in new music to composers – those who were bold enough to experiment with its possibilities. Contemporary heavyweights like Stockhausen, Berio and Sciarrino have written for the bassoon and the list of possibilities for extended techniques is quite lengthy despite the limited number of players who specialize in this area.

The newest of all woodwinds, the saxophone, has a bright, versatile, and malleable timbre which make it highly attractive to modern composers and performers. It was discovered that saxophones had the ability to create many of the extended techniques that were being explored on other instruments, and this ultimately led to the expansive modern repertoire the instrument now has.

Saxophones possess a range of techniques similar to those available on the flute and clarinet. These

60 Stockhausen Verlag Catalogue. Accessed December 2, 2016. http://www.karlheinzstockhausen.org/PDF/STOCKHAUSEN-VERLAG_Catalogue_English.pdf.

techniques include microtones, multiphonics, growl (sing and play), slap tongue, flutter tongue, and altissimo.

The use of auxiliary instruments – which extend the range of the standard instrument and offer a wider palette of colours – gave composers the ability to explore the far reaches of what new music could be. These new avenues of creativity facilitated and expansion of the repertoire in every direction.

This is especially true of the flute family throughout the course of the twentieth (and into the twenty- first) century.

THE DEVELOPMENT OF CONTEMPORARY REPERTOIRE FOR FLUTE

The development and evolution of extended techniques can be traced chronologically through the flute repertoire. Flutist Pierre-Yves Artaud says that “the very limitations of the instrument lead to its use as a compositional laboratory in the way that the string quartet and pianoforte were used previously.”61 Composers of the twentieth centurFy had begun writing new music for the flute in earnest, experimenting with a wide range of styles, and using a variety of compositional devices. Artaud credits this surge of interest and passion for the flute to the nature of the instrument’s sound: “It is indeed a flexible instrument and one which permits both a high degree of virtuosity and a wide range of colours.”62 Examining several iconic works, we can trace the outline of the evolution of the flute from a tuneful, romantic instrument to one of great contemporary virtuosity, beginning with Debussy’s Syrinx through to Varèse’s iconic solo work Density 21.5. Syrinx for solo flute, written by Debussy in 1912, is among the first major works for solo flute in the twentieth-century. Varèse’s Density 21.5 (1931) is often considered the next notable contemporary work in the flute’s repertoire. In the nineteen years in

61 Pierre-Yves Artaud and Catherine Dale. “Aspects of the Flute in the Twentieth Century,” Contemporary Music Review 8, No. 2 (2009): 137. 62 Ibid.

between, however, are several other major compositions which have been instrumental in the development of a modern repertoire for the C-flute and its auxiliaries.

The research of flutists Nancy Toff and Julia Ann Larson has resulted in a combined list of thirty works for flute written between 1912 and 1961 that can be used to help track the development of extended techniques specifically within the solo flute repertoire. The solo flute repertoire is particularly demonstrative of the rapid rate of change which the instrument experienced, especially in comparison to the accompanied repertoire which remained rooted in the more traditional compositional styles until later in the twentieth century.

Charles Nicholson, Georges Bayr and Charles De Lusse began using harmonic fingerings as a means of achieving the desired expressive quality or to facilitate ease of technique in a difficult passage.

Composers slowly took notice and began to avail themselves of the timbral possibilities offered by harmonic fingerings. Hungarian flutist-composer Franz Doppler (1821-1883) was one of the first to use harmonics as an intentional compositional device. Appearing in his piece Fantaisie Pastorale Hongroise

(1870), the harmonics at the end of the Molto Andante section provides a more tempered timbre for the piano dynamic marking while also offering the flutist a slightly less difficult fingering combination.

Harmonics make their next appearance in 1934 – in Jacques Ibert’s Concerto for Flute – along with one of the first uses of flutter tonguing in solo flute repertoire. Flutter tonguing has since become a common technique and is often used in a wide range of both traditional and contemporary repertoire. The Ibert

Concerto is a cornerstone of the modern flute repertoire and is one of the most often played twentieth- century concerti.

Varèse’s Density 21.5 (1936), André Jolivet’s Cinq incantations pour flûte seule (1936/37), and

Frank Martin’s Ballade for flute and piano (1939) all feature then “new” techniques that raised the profile of the flute as a vehicle for experimental music. Density 21.5 uses extreme low and high registers, a variety of aggressive articulations, and key clicks – a percussive technique which was brand new to

flutists. Cinq incantations and Ballade both use harmonics and flutter tonguing. Nancy Toff provides further details on Cinq incantations, saying the piece “contains one of the first extended uses of flutter- tonguing in the solo flute literature.”63 In the first movement, flutter-tonguing in the high register simulates a second instrument, in contrast to the “straight” line in the lower register. The piece also contains numerous instructions regarding expressive techniques, including “commue une grande respiration, quasi Tromba” (like a large breath, like a trumpet) on low D, and “sifflant”, a hissing or wheezing… the piece also includes pitch slides of a half-step, executed by rolling the flute.”64 Each of these works has become a landmark in the repertoire, now often performed at the undergraduate level, and their collective composition in the 1930s marks the arrival of the flute as a virtuosic soloist in the

20th century.65

The flurry of composition of new flute music continued into the 1940s, with Henri Dutilleux’s

Sonatine in 1943 and Jolivet’s Chant du Linos in 1944. The Sonatine is a renowned piece for flute, although not one of Dutilleux’s own favorites, and it is recognized for its mostly-tonal harmonic language and beautiful melodies.66 Written for the Paris Conservatoire as a contest piece, Sonatine shows influences of Ravel, Roussel, and Debussy, and showcases both the lyrical and technical prowess of the flute. While Dutilleux’s Sonatine employs only rapid double-tonguing, the extreme high register and a brief passage of flutter-tonguing its worldwide popularity has secured its place as a formidable twentieth-century work for flute.67 Chant de Linos, considered one of the flute’s greatest showpieces, was also commissioned by the Paris Conservatoire and dedicated to then-professor Gaston Crunelle.

63 Nancy Toff, The Flute Book (New York: Scribner’s and Sons Publishing Co., 1979), 275. 64 Nancy Toff, The Development of the Modern Flute (New York: Taplinger Publishing Co., 1979), 275. 65 Pierre-Yves Artaud and Catherine Dale. “Aspects of the Flute in the Twentieth Century,” Contemporary Music Review 8, No. 2 (2009): 136. 66 Pierrette Mari, “HENRI DUTILLEUX SE RACONTE ‘MYSTERE ET MEMOIRE DU TEMPS’,” IRCAM Centre Pompidou, 1993. Updated 21 November 2014. https://archive.is/20141121114139/http://catalogue.ircam.fr/hotes/snm/ITPR07MARI.html. 67 Ibid.

Demanding of both technical and lyrical virtuosity, Chant du Linos starts with a cadenza-like passage, which gives way to a lamenting melody alternating with a ritualistic-like dance section. Chant du Linos features complex technical passages throughout all ranges of the instrument – including both the extreme high and low ranges – in combination with rapid articulation, flutter tonguing and asymmetrical meter.

Several pieces composed in the 1940s demonstrate some of the compositional techniques which were gaining popularity in the mid-twentieth century. Louis Gesensway wrote his 1942 Flute

Concerto for William Kincaid. By using Kincaid’s warm-up harmonics routine within the piece,

Gesensway became the first composer to use the technique in the concerto setting. According to Toff, this Kincaid pedagogical trademark had never before been attempted in public orchestral performance.68 The year 1946 was particularly important for contributions to the modern flute repertoire, with Boulez and Sancan both writing their famous Sonatines and John Weinzweig composing his Divertimento for Flute and String Orchestra. The Boulez Sonatine, written in 1946 for the famous

French flutist Jean-Pierre Rampal, is an energetic work featuring virtuosic parts for both pianist and flutist. The flute part requires large leaps across the entire range of the instrument, an aggressive character demonstrated by contrasting rhythmic figures and rapid tempo changes.69 Divertimento, written by Canadian composer John Weinzweig, became the first in a series of divertimenti that he wrote over fifty-two years. The piece is constructed using twelve-tone techniques and touches of the aggressive and highly articulated style which was gaining popularity in the flute repertoire.70

68 Nancy Toff, The Flute Book (New York: Charles Scibner’s Sons, 1985), 275. 69 Michael Blostein, “Pierre Boulez, Sonatine for Flute and Piano,” All Music. Accessed March 1, 2018. https://www.allmusic.com/composition/sonatine-for-flute-piano-mc0002384537. 70 Alexa Woloshyn, “Divertimento, No. 1 (1946),” John Weinzweig. Accessed March 2, 2018. http://www.johnweinzweig.com/works/divertimento-no-1/.

By 1950, both the solo and accompanied flute repertoires had acquired several defining twentieth-century compositions. Flutists Leonard Garrison and Helen Bledsoe have both compiled extensive lists of accompanied modern repertoire.71 Le merle noir by Olivier Messiaen is an important piece on both lists. Published in 1952, Le merle noir employs a variety of extended techniques and compositional devices including flutter tonguing, complex rhythmic figures, and a lack of metric patterns.

The use of extended techniques in chamber works for flute and piano gained significant popularity in the latter part of the twentieth century. In 1975, Claude Vivier published his Pièce for flute and piano, followed in 1981 by the avant-garde composer Franco Donatoni’s Fili for Flute and Piano. By the turn of the twenty-first century, the flute’s vocabulary included a wide range of extended techniques, including microtones, multiphonics, percussive techniques (i.e. key clicks) and articulation

(pizzicato tonguing), bisbigliando (timbral trills), pitch bending and glissandi, whistle tones, aeolian

(wind) sounds, harmonics, singing while playing, and a variety of air sounds, both articulated and not.

The experimentations of composers were not limited to solo flute works or the traditional flute- and-piano combination. An ever-growing artillery of extended techniques, in combination with a key system that had become standardized worldwide, enabled the rapid increase in the number of contemporary chamber works for flute and other instruments as well as flute with tape recording or computer-generated electronics. Two outstanding examples of contemporary writing in the “flute-and” category include pieces by Heitor Villa-Lobos, Mario Davidovsky, and, in later years, George Crumb.

Villa-Lobos’ piece The Jet Whistle for Flute and Cello (1952) avails of flutter-tonguing, key clicks and glissandi, in addition to the technique from which it gets its name.72 Syncronisms No. 1 (1962) by

71 Leonard Garrison’s repertoire lists can be found at www.leonardgarrison.com/applied-repertoire/; Helen Bledsoe makes her list available at www.helenbledsoe.com/erep_shortlist.html. 72 The ‘jet whistle’ is an extended technique wherein the flutist covers the embouchure hole with their lips and blows forcefully into the instrument, creating a rushing wind sound.

Davidovsky is one of the first compositions for flute and tape. Performing with a recorded part presents a new challenge for performers: not only must they execute a complex score full of extended techniques, but the live playing must coordinate precisely with an unforgiving recorded accompaniment.

George Crumb’s 1971-piece Vox Balaenae (“Voice of the Whale”) for amplified flute, cello and piano features a wide range of extended techniques for each of the performers. Most notably, the flutist is required to sing into the instrument while emulating the sounds of whale songs.73 The pianist spends a significant amount of time inside the piano, strumming the strings, using a chisel, paper clips and a glass rod on the strings to alter the sound of the instrument and the cellist plays the role of the sea birds, employing harmonic glissandi to capture the sound of sea gulls. While not an extended technique but an interesting feature of the piece nonetheless, the cellist also has to accompany the whistling flutist on the crotales at the end of the piece.

The use of auxiliary flutes in solo repertoire became popular in the mid-twentieth-century, as composers sought ways to enhance the sounds of the C-flute. These flutes began making appearances in movements of both accompanied and unaccompanied works for C-flute or doubled by the soloist to enhance a small section of a work. The piccolo first appeared alongside the C-flute in Gordon Jacob’s solo work The Pied Piper from 1959. The first movement of The Pied Piper, called “The Spell,” is played on C-flute and the second movement, “The March to the River Weser,” is for solo piccolo. While The

Pied Piper does not use extended techniques for either instrument, it does lay the foundation for the piccolo’s rise as a solo instrument.

The piccolo made its next appearance in the solo repertoire in Roger Reynolds’ Mosaic (1962) for flute and piano. Mosaic makes use of harmonics, whistle tones, flutter tonguing, pitch bends, key

73 The singing-and-playing technique, so effectively used in Vox Balaenae, was brought to popularity by American jazz-flutist Herbie Mann, who called the colorful timbre “voice over flute.” This technique is now standard in works for all of the flutes, including piccolo. This technique will be discussed in Part II of the present dissertation, in the context of Derek Charke’s Lachrymose for solo piccolo.

slaps, and contrasts between straight and vibrato tone.74 The extended techniques used in Mosaic are written for C-flute, however the two phrases for piccolo also employ rapid articulation, disjointed intervallic structure, and use of registral extremes. Written one year later, Barney Childs’ duo Music for

Two Flute Players (1963) has both players doubling on auxiliary flutes. The first flute is required to double on piccolo while the second player plays alto flute. This interesting work uses extended techniques on the flute but also requires the piccolo player to create a variety of timbres such as making

C#2 “gradually as flat as possible.”75

The piece alternates between measured and unmeasured writing, with the two parts interacting and playing off one another throughout. Players are required to improvise, bend the pitch, make complicated registral and dynamic changes, and even play in different tempi at the same time!

The creative showcasing of the piccolo in these mid-twentieth century works for flute have enabled the gradual acclimatization of composers and audiences to the idea of the piccolo as a solo instrument. The next section of this chapter will take a closer look at the development of the piccolo repertoire – both in the form of traditional tonal works and more avant-garde pieces, all of which define the piccolo as a virtuosic and powerful solo voice.

A COLLABORATIVE APPROACH TO NEW MUSIC FOR PICCOLO

Exposure in the solo C-flute repertoire, combined with experimentation in orchestral writing, enabled the piccolo to gain traction as a viable instrument for contemporary music. Unfortunately, the idea of writing music for solo piccolo was not welcomed by all composers. The notoriety of the instrument, particularly for having a shrill timbre and unwieldy intonation, was seen by some as discouraging and

74 Larson, Julia Ann. Flute without Accompaniment: Works from Debussy: "Syrinx" (1913) to Varèse; "Density 21.5" (1936) (DMA Diss., University of Maryland, College Park, 1990): 279. 75 Ibid., 278.

intimidating. In his program notes for his Sonata for Piccolo and Piano, composer Mike Mower highlights some of the reasons why solo piccolo music was not previously taken seriously by composers or performers:

Much of the past repertoire for solo piccolo has focused on the comedy aspect of this instrument, incorporating ear splitting shrieks and high bird-like trills. All this is possible but there’s much more to the piccolo than that. We all know about the power and razor-like possibilities of the top register but in its bottom register the piccolo can take on a charming woody, hollow and ethereal quality and the middle register can be commanding and assured without being overpowering but also sweet and lyrical.76

The rise in popularity of the flute is inextricably linked to three important proponents: 1) players who championed the instrument and were able to demonstrate its soloistic capabilities; 2) composers who took up the torch and tried new ways of writing for the instrument – whether that was simply writing more solo music, as was the case in the flute’s transition from orchestral instrument to soloist, or experimenting with new techniques and sounds altogether; 3) musical organizations who became interested in hearing, promoting and often even commissioning these new works.77 This section will look at the importance of each of these contributors who, individually or in combination, contributed to the rise of the piccolo as a contemporary solo instrument.

The Importance of the Performer-Composer Relationship

The unfamiliarity of extended techniques, coupled with the high level of expertise and specialization required to perform them competently, resulted in a necessary collaboration between composers and performers. These performer-composer partnerships were crucial to raising the profile of contemporary

76 Mike Mower, “Sonata for Piccolo and Piano,” Itchy Fingers Publications. Accessed April 14, 2017. http://www.itchyfingers.com/view-IFP_040. 77 National Flute Association, “Commissions,” National Flute Association. Accessed August 12, 2018. http://www.nfaonline.org/Resources/Commissions/Index.aspx.

flute playing and encouraging further composition because they facilitated the writing of music which was both trail-blazing and playable. Some flutists have become inextricably linked to composer colleagues as a result of their partnerships on major works in the repertoire: examples include

Gazzelloni and Berio, and Nicolet and Holliger.78 The piccolo has required similar virtuosic playing and professional partnerships to advance its role as a recital instrument in both traditional and contemporary approaches.

Severino Gazzelloni and Roberto Fabbriciani have been key flutists in the development of contemporary repertoire for both flute and piccolo. Many now-standard contemporary works – such as

Sequenza for solo flute by Berio and Nidi for solo piccolo by Donatoni - were written in collaboration with and/or dedicated to one of these players. Gazzelloni (1919-1992) was an Italian flute virtuoso who collaborated with many composers, including Donatoni and Berio, to further the modern repertoire.

Dozens of works are dedicated to Gazzelloni and many recordings of his performances are available in

CD format, or online on YouTube or other websites. As musicologist Niall O’Loughlin said of Gazzelloni:

“Because of his great virtuosity in this music and obvious sympathy with its style, he has enlightened composers in the possibilities of the new developments in flute techniques with which some leading composers had been experimenting.”79 Fabbriciani is an Italian flutist known for his innovative techniques and outstanding contemporary performances. He is described as having multiplied “through personal research the instrument's sonorous possibilities.”80 Fabbriciani has collaborated with some of the major composers of this century, including Luciano Berio, Pierre Boulez, John Cage, Elliot Carter,

Franco Donatoni, Jindřich Feld, Brian Ferneyhough, Jean Françaix, György Ligeti, Bruno Maderna, Olivier

78 Pierre-Yves Artaud and Catherine Dale. “Aspects of the Flute in the Twentieth Century,” Contemporary Music Review 8, No. 2 (2009): 141. 79 Niall O’Loughlin, “Severino Gazzelloni” The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (New York: Macmillian Publishers, 1980). 80 Roberto Fabbriciani, “Biography,” Robert Fabbriciani. Accessed April 15, 2018. www.robertofabbriciani.it/ita.htm.

Messiaen, Ennio Morricone, Luigi Nono, Nino Rota, Giacinto Scelsi, Salvatore Sciarrino, Mauricio Sotelo,

Karlheinz Stockhausen, Toru Takemitsu. He worked alongside Luigi Nono in the experimental studio of the Südwestfunk (SWF) in Freiburg for many years, blazing new and unusual trails in music.81 Fabbriciani has performed concerts at prestigious theaters and musical institutions throughout the world, has recorded several CDs of new music and has been professor at the Universität Mozarteum Salzburg.82

Fabbriciani’s influence is felt across the great expanse of the flute repertoire with dozens of works having been dedicated to or premiered by him. One such piece, the second movement of Nidi due pezzi per Ottavino (Donatoni) will be discussed in more detail in Chapter Three.

The All-Inclusive Flutist-Composer

The relationships between composers and flutists have been crucial to the development of contemporary music for the instrument, however individual flutist-composers provide a unique perspective for the furthering of contemporary flute music. Having the theoretical understanding to compose experimental and avant-garde music in addition to the technical (and often virtuosic) ability to execute such techniques, or perhaps even expand on pre-existing knowledge and skills, the all-inclusive flutist-composer is the ideal candidate to propel the instrument into new territory. As Nancy Toff states,

“Not until the avant-garde revolution did flutists again begin writing for their instrument to any significant extent. When they did, it was a matter of necessity, because the new techniques required such intimate knowledge of the instrument’s technical capabilities.”83

81 The Südwestfunk (SWF) is a public broadcasting company located in southwest Germany. The organization became known as Südwestrundfunk (SWR) after a merger in 1998. 82 Roberto Fabbriciani, “Biography,” Robert Fabbriciani. Accessed April 15, 2018. www.robertofabbriciani.it/ita.htm. 83 Nancy Toff, The Flute Book (New York: Charles Scribner’s Sons, 1985): 253

There have been many influential flutist-composers since the end of the nineteenth-century.

Important names include: Paul Taffanel, Joachim Andersen, Theobald Boehm, Franz Doppler and more recent performer-composers such as Georges Barrère, Philippe Gaubert, Ian Clarke, and Robert Aitken.84

Two key flutist-composers have had significant impact on the transformation of the flute from romantic to contemporary virtuoso in the twentieth century: Pierre-Yves Artaud (born July 13, 1946) is a flutist, composer and author. He was one of the first flutists to write on the subject of contemporary techniques and has published two significant treatises including the aforementioned Flûtes au présent: traité des techniques contemporaines sur les flûtes traversières à l'usage des compositeurs et des flutistes and Aspects of the flute in the twentieth century, which he co-wrote with Gerard Geay and

Catherine Dale respectively. Artaud’s dedication to research and dissemination of information helped to form the basis of much future research regarding the flute’s capability for extended techniques. Artaud is also the dedicatee of many contemporary works for flute including works by Donatoni, Ferneyhough,

Gubaidulina, and others.85 Artaud has published two books of studies as well: Pierre-Yves Artaud, La

Flûte Multiphonique - Études pour la flûte traversière and Harmoniques Cahier d'exercices :

Monophoniques et Polyphoniques pour flute which have been highly influential on the development of this dissertation and the study of extended techniques on flute as a whole.

Robert Dick, the internationally renowned flute pedagogue, is known for his work in the area of extended techniques. Dick has an extensive catalogue of flute compositions numbering over seventy works that often employ the auxiliaries such as piccolo, alto, and bass flutes. Also in his catalogue are a number of chamber works for flutes with percussion, guitar, drums, electronics and non-Western instruments. He has published and recorded most of his own music, as well as the works of others, on

84 Susan Eckman MacIver, “THE MUSIC OF FLUTIST/COMPOSERS: PERFORMANCES OF SELECTED WORKS FOR FLUTE COMPOSED BETWEEN 1852 AND 2005” (DMA Diss., University of Maryland, College Park, 2010): 4. https://drum.lib.umd.edu/bitstream/handle/1903/12901/McIverDissertation.pdf;sequence=1. 85 Pierre-Yves Artaud, “Biography,” Pierre-Yves Artaud. Accessed September 4, 2017. www.pyartaud.com.

the Lumina Records and Random Acoustics labels. Dick’s three publications – Circular Breathing for the

Flutist (1987), Tone Development Through Extended Techniques (1986) and The Other Flute: A

Performance Manual of Contemporary Techniques (1989) – are some of the most respected and widely- used contemporary techniques books available. His compositions for flutes range in style from contemporary, avant-garde art music to more rock, jazz and pop-influenced pieces. Dick’s prolific output of research and composition has had a wide-reaching impact on contemporary flute performance and pedagogy.

Commissioning Projects

In recent years, two commissioning projects have sparked wider awareness and support for the composition of solo piccolo music. These two initiatives – the Dutch Piccolo Project and the Micro

Commissioning Project (USA) – have been spearheaded by players who desire for the piccolo to be heard by wider audiences, and to increase its body of solo repertoire. Ilonka Kolthof and Jennifer Gunn have partnered with composers to write new works for piccolo and endeavour to have these new pieces performed and promoted in a variety of ways.

Dutch Piccolo Project

The Dutch Piccolo Project was founded in 2014 by flutist/piccoloist Ilonka Kolthof. Kolthof’s goal for the project was to “encourage composers and flutists worldwide to discover the piccolo's beauty and versatility … [and] to emphasize and bring to the limelight the piccolo as an autonomous solo instrument.”86 To date, the project has commissioned eight works from eight different Dutch composers. The instrumentation of the pieces includes one work for solo piccolo, four for piccolo and

86Ilonka Kolthof, “Dutch Piccolo Project,” Dutch Piccolo Project. Accessed March 16, 2018. www.dutchpiccoloproject.com.

piano, two for piccolo and percussion, and one piece for piccolo and tape. All of the works are published by Donemus Music and are available for purchase in pdf download as a complete album of scores.87

Works commissioned by the Dutch Piccolo Project include a wide range of compositional devices including aeolian sounds (Halo by Bart Spaan), performing with tape recorded accompaniment (Beyond

“Is” and “Is Not” by Vanessa Lan), and the channeling of other contemporary composers’ writing styles

(The last cocktail… by Allan Segall which features sections inspired by Conlon Nancarrow and Olivier

Messiaen). Kolthof was a finalist in the National Flute Association’s 2016 Piccolo Artist Competition using some of this repertoire she has commissioned. In 2018, she and pianist Ralph van Raat will release a CD of Dutch piccolo music as part of the commissioning project. Additionally, Kolthof has furthered the project and set it up for continued commissioning and promotion of the piccolo by creating the Dutch

Piccolo Foundation. Further information can be found at www.dutchpiccoloproject.com or on the Dutch

Piccolo Project Facebook page.

Micro-Commissioning Project

Jennifer Gunn, solo piccolo of the Chicago Symphony Orchestra, has collaborated with composer James

(Jim) Stephenson to commission a new sonata for piccolo and piano in 2018. The commissioning project receives funding via crowd-sourcing, whereby interested parties contribute funds and in return receive copies of the commission as well as other works by the composer. Gunn is a well-known, highly respected American piccoloist and this micro-commission project has engaged other players and students within her sphere of influence to help bring this new Sonata to life. Gunn’s professional

87 Kolthof is an active performer, having played with ensembles such as the Antwerp Symphony Orchestra, the Dutch Radio Orchestra, the Hague Philharmonic and the Netherlands Symphony Orchestra. She was the second prize winner of the 2017 Kujala International Piccolo competition, third prize winner of the 2014 National Flute Association’s (NFA) Piccolo Artist Competition and gave a solo recital at the 2016 NFA convention in San Diego.

reputation lends credibility to the project and legitimizes the creation of new recital repertoire for piccolo.

The National Flute Association

The National Flute Association (NFA), founded in 1972, is the largest flute organization in the world. The goal of the NFA is to “encourage a higher standard of artistic excellence for the flute, its performers, and its literature.”88 The NFA has approximately 5,000 members representing over 50 countries. The association publishes its own magazine, The Flutist Quarterly and, perhaps most importantly, hosts an annual summer Flute Convention at various major cities throughout the United States. The convention is attended by thousands of flute enthusiasts, professionals and retailers. As part of the convention, the

NFA hosts multiple competitions for young flutists. The NFA’s Piccolo Artist Competition is a biannual event which first started in 1993. Since then, winners have included players who have gone on to have highly successful careers: Shannon Finney (winner of the 1993 competition, now Associate Principal

Flute of the Kansas City Symphony), Erinn Frechette (winner of the 2000 competition, now third flute/piccolo of the Charlotte Symphony), Zachary Galatis (winner of the 2012 competition, now solo piccolo of the Oregon Symphony) and most recently, Cara Dailey (winner of the 2016 competition, now

Principal Flute of the Evansville Symphony). For the final round of the Piccolo Artist competition, as well as for other special projects from the piccolo committee, the NFA has commissioned twelve works from a variety of American composers. These pieces range in instrumentation from solo piccolo, piccolo and percussion, piccolo and piano to concerto for piccolo and orchestra. For a complete listing of these works, please see Appendix A.

88 National Flute Association, “The Organization,” National Flute Association Online. Accessed March 16, 2018. http://www.nfaonline.org/The-Organization/.

A NEW IDENTITY FOR THE PICCOLO

The piccolo has experienced significant growth in popularity since the mid-twentieth-century. This interest in the smallest of flutes has led to a flurry of composition of repertoire, including solo, accompanied and chamber works. The following catalogue of major works is a survey of pieces which are notable for their contributions to the contemporary piccolo repertoire. Each piece included here contains extended techniques or has made a significant impact on compositional trends for the instrument. A more comprehensive and up-to-date repertoire listing (including both modern and traditional works) can be found at www.moderntwig.ca.

A Catalogue of Major Works in the Piccolo Repertoire

The earliest solo work for piccolo appeared far before any consistent output for the instrument began. A highly popular and accessible work for piccolo is Vincent Persichetti’s Parable XII. Written in 1956 as one in a series of twenty-five Parables, this piece highlights the low register of the piccolo in an ABA format.

The piece opens with a flowing and melodic theme and then quickly moves into a fantasy-like middle section before returning to the A material for a lyrical and joyful ending. Ahead of its time, Parable XII represents the start of an exceptional and ever-growing repertoire for solo piccolo. Parable XII showcases many of the traditionally virtuosic capabilities and highlights the instrument’s singing nature

– proving that the piccolo doesn’t have to be a “shrieking twig” in every musical setting!

The next major piece of solo piccolo repertoire did not appear for nearly two decades.

Composers like Reynolds and Jacobs toyed with the piccolo, mixing the sounds of the smallest flute into works which were primarily for C-flute. This all changed in 1973 when Norwegian composer Bjørn

Fongaard published the first contemporary piece for solo piccolo, effectively launching the instrument onto its journey to new-music stardom. Fongaard is a Norwegian guitarist-composer, known for his

microtonal guitar playing and, later in his life, his experimental compositional style. Under the influences of Hindemith, Schoenberg, and Webern, Fongaard’s compositions incorporate a wide array of microtones and were mostly written in proportional notation.89 His Sonata for Solo Piccolo, Opus 125

No. 1, is the first in a series of 57 sonatas for solo instruments – similar to Persichetti’s Parables and

Berio’s Sequenzas. The nine-minute work features Fongaard’s signature proportional notation and uses the entire range of the instrument in all dynamics from pianissimo to fortissimo. The Sonata comprises two movements: the first, titled Maestoso, is stately and disciplined in its metrical organization. The second movement, Vivace, is faster and more improvisatory in nature, but has moments of the

Maestoso character interspersed throughout. Fongaard provides markings on the staff by which the performer can interpret the passage of time: in Maestoso, an approximate half-inch worth of staff corresponds to one second, whereas in Vivace, approximately two inches of staff should take place within one second. Following this guideline, the performer can assess the spacing of the notes and make judgements on how fast the phrase should be played.

Not long after Fongaard’s Sonata came Allan Stephenson’s 1979 Concertino for Piccolo, Strings and Harpsichord: the first modern concerto for the instrument. Blazing the trail for other great concerti to come, the Concertino features traditional themes and strong tonality, with hints of jazz rhythms found in measures of asymmetrical meters such as 5/8 and 7/8. The first movement, Allegro Amabile, is spirited, featuring a jovial melody in the key of D+. The Molto Lento is a showpiece for the piccolo’s rich, woody low register, offering a moment of lyrical virtuosity between the more spirited outer movements.

The third and final movement, Marcia: Allegretto, is an ABA form with the outer march sections framing a rollicking, sea-faring tune in 6/8 time.

89 “Bjørn Fongaard – Biography,” Mic Listen to Norway, 12 October 2002. Accessed February 27, 2018. http://www.mic.no/mic.nsf/doc/art2002101214595343985351.

Stephenson’s Concertino for Piccolo and even Fongaard’s Sonate fall well within the comfort of traditional sonority for the piccolo. Neither piece captures the virtuosic approach to avant-garde composition or extended techniques which were already becoming popular for more mainstream instruments. Franco Donatoni, a prolific modern composer, changed all this in 1979 when he published

Nidi, deu pezzi per ottavino. Now an iconic work for contemporary piccolo playing, Nidi (“nests”) features Donatoni’s own distinct characteristics: written in proportional notation with extensive ornamentation and intervals that leap from the lowest register to extreme heights. This work is discussed in further detail in Part II of the dissertation; however, it is important to note here that Nidi has become a cornerstone of contemporary repertoire for the piccolo, representing both the avant- garde writing trend and also great technical achievement for the performer.

The year 1981 marked the composition of four major works in the contemporary repertoire:

Karlheinz Stockhausen’s first two works for solo piccolo – Entführung: Solo für Piccolo-Flöte and Piccolo – as well as Superscriptio by Brian Ferneyhough. Stockhausen is well known for his experimental compositions, and both Entführung and Piccolo are no exceptions to the rule. The premise of Entführung

(which translates as “Abduction”) is that a pied piper named Ave, the piccolo player, entrances a children’s choir and leads them ‘into the clouds’ while the choir sing a repeating refrain: “Monday –

Born from light – Ceremony and Magic.”90 Piccolo is one of Stockhausen’s shortest works, lasting approximately three minutes, and it features flutter tonguing, pitch bending, and glissandi. Notes in the score indicate that the player should perform the piece from memory and could perform from an unexpected place in the venue, such as a balcony or box. Piccolo is a rhythmic piece, employing standard notation, a steady pulse and common rhythmic figures – unlike Superscriptio which is perhaps the most complex and difficult piece in the piccolo repertoire. The technical feats required by Ferneyhough in

Superscriptio will be discussed in Chapter Three of this dissertation, with a detailed breakdown of the

90 Karlheinz Stockhausen, Entführung, Kürten: Stockhausen-Verlag, 2006.

complex rhythmic structures and discussion regarding the production of extreme loud and soft dynamics in the upper octaves.

Composer Bun-Ching Lam has written a series of pieces for solo instruments which are mostly virtuosic in nature. Bittersweet Music I (1981) for solo piccolo is the first in this collection and explores the expressive capacity and timbral possibilities of the instrument. This short solo work features extensive use of the piccolo’s woody low register, as well as multiphonics and microtones. The player is at times required to cover the end of the piccolo with the little finger to facilitate both pitch bends and lower notes which are not available using the instrument’s key system alone. Bittersweet Music I is important for the repertoire because it is one of the first short contemporary works for solo piccolo that does not overtax the player technically but is also accessible for listeners.

James Dillon’s piece Diffraction (1984) for solo piccolo is a unique work. The piece is structured in a traditional rondo form with a recurring theme – the “diffraction” of the low register F – appearing between sections of disjointed “melody”. The composer describes the premise of the piece, stating: “A complex figuration will ‘bend’ or ‘spread’ as it touches a pre-determined frequency margin – in this case a low piccolo F – with the resultant emanation of an ‘interference spectrum’. This process occurs seven times in the work.”91 The piece uses an array of uncommon time signatures, extreme registers, and the complete range of dynamics. Diffraction will be discussed in detail in Chapter Three, the performance manual.

The next piccolo concerto came in 1988 from French composer Raymond Niverd. Niverd’s

Piccolo Concerto is seemingly not well known or often played, however it is important to note that piccolo concerti continued to be written throughout the late twentieth-century.92 Niverd’s Piccolo

91 Dillon, James. Diffraction (London: Edition Peters, 1984). 92 Despite being a relatively obscure composer, Niverd does have a range of other pieces including two works for Oboe, Maestoso et Scherzando for Trombone and Piano, multiple works for solo piano, and the Méthode de Hautbois Trés Progressive.

Concerto features rapid time changes, flashy technical passages and melodies which are both lively and mischievous as well as lyrical and sweet. The Niverd Piccolo Concerto would be accessible to undergraduate level players and beyond.

The National Flute Association piccolo committee has commissioned the writing of twelve works for piccolo. The first piccolo commissions came in 1989 in the form of Thea Musgrave’s Piccolo Play and

Rima by Marilyn Bliss. Piccolo Play is comprised of seven movements based on works for harpsichord by

Couperin and has become a popular choice for students and professionals alike. Rima is a slightly lesser known work, written in a single movement for piccolo and piano. Both are character pieces, with Rima offering a new take on the “bird” imitations which the piccolo is known for.

Stockhausen’s third composition for solo piccolo, his 1990-piece Zungenspitzentanz (“The tip-of- the-tongue-dance”) is an avant-garde work which sees the performer working as both musician and actor. Zungenspitzentanz is strict in its structure and directions from the composer, requiring the performer to coordinate physical movements with specific musical sections of the piece. Marked by

Stockhausen’s signature style of utmost precision and control, Zungenspitzentanz is one of few pieces in the repertoire which requires the piccoloist to perform choreography while playing!

The 1990s brought about several major works for solo piccolo. Régis Campo’s Doublées, una voce (1992) features microtones, pizzicato tonguing, use of extremes of the register and singing while playing. The piece is nine minutes long and presents a wide array of soundscapes ranging from slow moving, sustained pitches to rapidly articulated passages that leap from high register to low. Campo’s writing style can be described as “deliberately playful and energetic, diverg[ing] from the mainstream of the late-twentieth-century, putting the accent on melodic invention and lively tempi.”93 Campo has been described by his teachers – notable contemporary composers themselves – as one of the most

93 “Régis Campo (1968 - ),” Pytheas Center for Contemporary Music. Accessed March 23, 2018. http://www.pytheasmusic.org/campo_regis.html.

gifted composers of his generation. Doublées, una voce represents one of the few truly avant-garde pieces in the repertoire.

Bruce Broughton’s Concerto for Piccolo was premiered in 1992 at the twentieth Annual National

Flute Association Convention. Tonal in nature, the Broughton Concerto is both energetic and virtuosic, featuring athletic lines moving through all registers and beautiful singing lines that highlight the piccolo’s range of timbres and lyrical ability. Broughton’s Concerto for Piccolo and Piano adds another twentieth century tonal concerto to the repertoire.

American composer Ken Benshoof’s has published several works that use the piccolo. The first, written in 1992, is a piece for piccolo and piano titled Spindrift. The piece has four major sections: the first one “Impetuous”, the second, “Comfortable”, is a blues character. The third, “Restless” features a toccata-like flavor with repeated notes in alternation with a romantic melody identified as “Flowing” in the score.94 The piece closes by revisiting the blues that appeared at the beginning. Benshoof’s piccolo and piano pieces are among the limited number of jazz-infused works in the piccolo repertoire.

Pierre-Yves Artaud’s 1993-piece Éole for solo piccolo features harmonic “sweeps”, whistle tones, aeolian sounds (breath only, no traditional pitched sound), pizzicato tonguing, whispered syllables and aleatoric sections with measured timings. Éole is Artaud’s only work for solo piccolo and therefore an important piece in the repertoire due to his influence as both contemporary player and composer.

Among the earliest commissions from the Piccolo Committee of the National Flute Association was John LaMontaine’s Sonata for Piccolo and Piano, Opus 61. LaMontaine loved the piccolo and wrote:

From my point of view every note of the piccolo has a value uniquely its own. The piccolo can be bold or uncertain and shy. The piccolo can cut like a knife or whisper. The piccolo can grieve, and the piccolo can leap with joy. It is with the hope of realizing some of these possibilities that I have composed my Sonata for Piccolo and Piano. The brevity of the work is measured by the “brevity” of the instrument, but like the instrument itself, it may contain more than might be

94 Ken Benshoof, “Program Note,” Spindrift for Piccolo and Piano (Saint Louis: Meridian Publishing LLC., 1997).

expected for its size.95

Written in 1993, LaMontaine’s piece is the first traditional sonata for piccolo and piano. It features four movements, the second of which is based on a beautiful lyrical melody, with the remaining three being built around rousing, upbeat themes.

Lowell Liebermann’s Concerto for Piccolo and Orchestra Op. 51 is revered as one of the piccolo’s greatest concert works. This three-movement showstopper, commissioned by the National Flute

Association in 1996, features hauntingly beautiful melodies stretching from the lowest notes of the register, up to the far reaches of the third octave and highly intricate technical work in all three movements. Programmatic and tuneful, Liebermann’s Concerto for Piccolo and Orchestra demonstrates the full soloistic capabilities of the piccolo in twentieth-century art music tradition.

The turn of the twenty-first-century brought about several unique and interesting works for piccolo. Ken Benshoof, who had written Spindrift for piccolo and piano a few years prior, created In

Shadow, Light for piccolo violin, viola and cello in 1997, commissioned by American piccoloist Zart

Dombourian-Eby. The piece is comprised of six movements ranging in mood from contemplative to playful and represents a small handful of chamber works featuring the smallest of flutes. American composer Martin Amlin’s Sonata for Piccolo and Piano, also written in 1997, is an energetic piece which features five unique movements. The piece was commissioned by the Seattle Flute Society and premiered by Zart Dombourian-Eby. Lisa Jelle describes Amlin’s composition style as “combining characteristic twentieth-century American driving rhythms and perpetual motion, symmetry on multiple levels, and a unique blend of French use of color and phrasing. Complex rhythms and constantly-shifting

95 Emily Graham, “Graduate Recital Program Note,” DePaul University. June 2, 2017. https://music.depaul.edu/concerts-events/news-events- calendar/Documents/Spring%202017%20Programs/170602-emily-graham.pdf.

meters and timbres give the music a kaleidoscopic effect.”96 British composer Peter Maxwell Davies was also publishing major works in 1997. Commissioned by the Royal Philharmonic Orchestra (RPO), Davies’

Concerto for Piccolo and Orchestra was premiered by the RPO’s principal piccoloist Stewart McIlwham.

This work is highly complex for both soloist and orchestra and has no piano reduction. As a result,

Davies’ Concerto for Piccolo and Orchestra performed infrequently.

In 1998, French composer Alain Moene published his solo piece Pour Piccolo with Billaudot publishers. This publishing house is responsible for much of the contemporary piccolo repertoire currently available. Pour Piccolo employs many of the same techniques used in both Éole and Doublees, una voce: pitch bends, percussive articulation, harmonics, microtones, singing while playing, and the use of extreme registers all appear within the unmeasured, ten-minute work.

Martin Amlin’s Concerto for Piccolo and Orchestra premiered by piccolo soloist Carl Hall with the

Atlanta Symphony Orchestra in 1999, follows close on the heels of his well-received Sonata for the same instrument. Amlin’s works for flute and piccolo are generally appealing because his use of contemporary compositional devices – particularly serialism – is almost tonal sounding in its use of perfect fourths, and minor and major sevenths. Flutist Leone Buyse and piccoloist Zart Dombourian-Eby agree that the use of the full range of the instruments in Amlin’s works makes them appealing, along with the fact that “the parts are well balanced, the musical lines interweave, rise and fall in a balanced whole.”97 Both the

Concerto and Sonata are now considered standard works within the piccolo repertoire.

Michael Daugherty’s piece The High and the Mighty (2000) for piccolo and piano has become one of the most popular pieces for the instrument. Accessible to undergraduate level players but also able to hold its own in a professional recital, The High and the Mighty is a two-movement work which

96 Lisa Jelle, “The Flute and Piccolo Music of Martin Amlin: An Introduction, discussion and analyses of the Sonata for Flute and Piano; “Trio Sonatina” for flute, clarinet and piano; and Sonata for Piccolo and Piano. (DMA Diss., Rice University, 2000): Abstract. 97 Ibid.

uses flutter tonguing, pitch bending and singing while playing to enhance its lyrical melodies and Bossa

Nova dance themes.

Sonatine de Giverny, also composed in 2000, is one of several works for piccolo by Daniel Dorff, and is the main representative of the French Romantic style in the modern piccolo repertoire. It employs the entire range of the instrument and requires the player to use a light, shimmering sound reminiscent of the great French composers Maurice Ravel. Upon receiving the commission from Jan Gippo, Dorff was immediately inspired and excited about writing the work, stating “I have always known that all woodwinds have their own beauty and expression, and that all extended winds deserve their own recital repertoire, highlighting their grace and suppleness.”98 Sonatine de Giverny is a three-movement work which has become a standard in the repertoire for students and professional players and Dorff continues to write other works for piccolo solo.

Robert Beaser’s composition Souvenirs for Piccolo and Piano (2002) has six movements, three of which are based on folk songs, both American and Spanish. Like Piccolo Play, Souvenirs was a commission from the National Flute Association’s piccolo committee and is often performed by students who are growing their piccolo skills.

Another commonly performed Sonatas in the repertoire is Mower’s fun and energetic Sonata for Piccolo and Piano (2002). This three-movement work explores the various timbres and colours the piccolo is capable of, all within a jazz idiom. The Mower Sonata features the piccolo’s low register extensively and aims to capture the sweetness of sound instead of the shrill and shrieking quality it is more commonly known for.

Martin Bresnick’s High Art, composed in 2003, takes the piccolo to new heights in the world of contemporary music. This piece is rife with extended techniques, using extreme leaps in register, rapid

98 Daniel Dorff, “Sonatine de Giverny for Piccolo and Piano (10’),” Daniel Dorff. Accessed November 29, 2017. http://www.danieldorff.com/pn-sonatinedegiverny.htm.

fire changes from pure tone to unfocused air sounds, whistle tones, and multiphonics to distort a simple melody and push the instrument to its limits. High Art was written in response to the irritation Bresnick felt when critics lacked understanding of his “low art” – a folk-style composition titled Der Signal. He resolved to write a piece of “high art” that would satisfy the musical establishment and intelligentsia that were so critical of his earlier composition.99

The year 2004 brought about the composition of two significant works in the piccolo repertoire, both of which employ vocal techniques. Dolce Tormento was written by Finnish composer Kaaija

Saariaho for flutist Camilla Hoitenga, who says of the work:

The usual Saariaho vocabulary is present: air sounds, controlled vibrato, Glissandi, trills, multiphonics, use of the voice and layers and transitions of all these. But there are no bar lines, no tempo markings beyond “rit. A tempo” (Three times on the last page), no dynamics, and a minimum of musical instructions … Traditional notation is used for the rhythmic values of the pitches, but the way the notes are spread out on the staff plus the way the phrases of the text are inserted without indication of duration suggests more a “space time” notation / interpretation than in her other scores.100

Lachrymose, by Canadian flutist-composer Derek Charke, is an ethereal piece which takes in the full range of the piccolo and requires the player to use a variety of timbres. The piece features the “sing- and-play” technique, whereby the performer sings or hums a single, sustained pitch while playing a rhythmical ostinato above it. The dynamic swells and changing harmonies in the instrumental line, in combination with the human voice, create a highly evocative soundscape. Lachrymose and the extended techniques used in it will be discussed in further detail in Chapter Three.

Another modern jewel in the piccolo repertoire, Levente Gyöngyösi’s Sonata for Piccolo and

Piano is one of many works commissioned by Seattle Symphony piccoloist Zart Dombourian-Eby.

Written in 2007, the sonata features three movements: Allegro vivace, Largo, Presto. The Sonata was

99 Martin Bresnick, “Program Note”, High Art. New York: Carl Fischer Music, 2003. 100 “Kaija Saariaho,” Music Sales Classical. Accessed March 17, 2018. http://www.musicsalesclassical.com/composer/work/19144.

premiered in New York at the National Flute Association Convention in 2009.101 In a review of the piece,

Nancy Nourse comments that the Sonata is “never far removed from the traditional roots of Central

Europe… in the midst of the dazzling technique of the third movement, a folk-like tune arrives and then, as if in a brief nod to the New World, a diabolical jazzy lick suddenly appears to carry the sonata in an ascending flash to its conclusion.”102

Passio Sensatio Motus (2013) is a multi-movement work in sonata form written by Spanish composer Miguel Prida. The first movement, Animae Motus (Soul Movement) alternates between lyrical fantasy style and a militaristic march in 7/8 time. The second movement, Collage (Motus Interruptus) plays with compound meter, bouncing back and forth from 6/8 to 9/8 and then through simple 4/4 time.

This movement harkens back to the piccolo’s first role as an orchestral instrument, with themes from

Ravel’s Piano Concerto in G+ and Beethoven’s Ninth Symphony. The third movement, Phrenetica Passio features an exciting Jethro Tull inspired section with complex “7/8 + 1/16” time signatures that give the section a rock and roll groove. The piccoloist is instructed to play “à la Ian Anderson”, employing throat noise and singing while playing. Prida’s Passion Sensatio Motus is one of few piccolo sonatas to employ these extended techniques.

Sonata for Piccolo and Piano “Homage to Poulenc” by Jorge Muniz is a piece with challenging parts for both piccolo and piano. The work features energetic tempi and dance rhythms bookending a hauntingly beautiful second movement which showcases the lower register of the instrument. Inspired by Poulenc’s Sonata for Flute, Muniz’s work takes on this great composer’s “remarkable sense of

101Levente Gyöngyösi. “Sonata for Piccolo and Piano”, Levente Gyöngyösi Composer. Accessed December 28, 2017. https://gyongyosilevente.hu/en/work/sonata-piccolo-and-piano. 102 Jean-Louis Beaumadier. “Jean-Louis Beaumadier Presents Music for Piccolo by Central European Composers,” Flute Journal, November 18, 2014. Accessed December 28, 2017. http://flutejournal.com/jean-louis-beaumadier- mitteleuropa/.

humour in music, yet poignant melodism and attractive harmonic designs.”103 Muniz wrote the piece in

2013, which coincided with the fiftieth anniversary of Poulenc’s death.

Matt Smith’s third sonata for piccolo and piano, “To the Nth Degree”, also written in 2013, is a musical tour de force in the modern piccolo repertoire. A single movement sonata, To the Nth Degree features dazzling technical facility and an equally demanding piano part. Smith’s first two sonatas have become standards in the repertoire, and Sonata No. 3 “To the Nth Degree” is quickly gaining popularity for being a virtuosic showpiece.

Conclusion

Based on this limited review of repertoire within the literature, it is easy to see that the modern piccolo player has at their fingertips a wide array of musical styles, techniques and writing styles. New music for piccolo continues to be written as composers, players and audiences become more familiar with the instrument and its soloistic capabilities. It is expected that with time, more pieces will gain the recognition as “standards of the repertoire”.

INNOVATIONS AND ADVANCEMENTS

The Boehm-system flute was the primary instrument throughout much of the twentieth century.

Recently, flute makers have experimented with modifications and additions to the Boehm design, resulting in key systems that enable an even richer and malleable tonal palette. The wide spread production of the Kingma quarter tone key system and the Glissando head joint have inspired the composition of a wealth of new repertoire employing these new instruments. In the 1980s Dutch

103 Jorge Muniz, Sonata for Piccolo and Piano (Columbia: Self-published, March 9, 2016).

flutemaker Eva Kingma and American flutemaker Bick Brannen began experimenting with the development of a quarter-tone key system. The result is the now very popular key-on-key mechanism featuring six additional keys enabling the performance of the seven quarter tones. It is available on C- flute as well as alto, bass and contrabass instrument. The Kingma quarter tone key system is also available on instruments made by the Sankyo and Levitt flute companies. In a conversation I had with

Ms. Kingma in 2017, she declined the pursuit of a quarter tone key system piccolo, citing that the instrument is too small to accommodate such a complex key structure.

American flutist-pedagogue Robert Dick has also been a great contributor to the development of the Boehm flute, premiering his Glissando head joint in 2005 to much acclaim. The Glissando

Headjoint serves as the “whammy bar” of the flute, enabling the player to slide smoothly between pitches. The telescoping head joint is controlled by two ‘wings’ which extended from the lip plate and embrace the flutist’s cheeks. In ‘home’ position, the Glissando head joint functions as a traditional head joint.104 Since its release, the Glissando head joint has inspired the composition of over a dozen new pieces.

Mechanical Advancements for Piccolo

The piccolo has yet to inherit any of the mechanical innovations which have enhanced the C-flute, alto flute and bass flute. At present, there are no market-ready instruments with modified key systems which facilitate extended techniques, however the Keefe piccolo company has experimented with several modifications which have enhanced general piccolo playing.

Keefe Piccolos offers the following options on their custom handmade instruments: C# Trill mechanism, split E mechanism, high G# facilitator (also known as the half-closing thumb key) and an

104 Robert Dick, “The Glissando Headjoint,” Robert Dick. Accessed September 5, 2017. www.robertdick.net/the- glissando-headjoint.

adjusted set up of the touch pads for the right-hand fingers to make the close quarters of the piccolo hand position easier to manage. The C# trill key simplifies a variety of trills on the piccolo; the high G# facilitator relieves the player of the necessity to depress right hand keys to sustain a G#4 which has both good tone and intonation; and the split E mechanism is an insert in the tone hole under the lower G key and improves the response of the high E.105 While neither of these additions is useful for the execution of extended techniques, any modification which makes the instrument either bit less mercurial is of benefit!

According to several articles, American flutist Dr. John Fonville has pursued the development of a quarter tone system piccolo.106 Unfortunately the instrument has never made it to the retail sales market. Despite reaching out several times, I have been unable to engage Dr. Fonville in conversation regarding his design for a microtonal piccolo. Further discussion of the availability of quarter tones on the current Boehm system piccolo will be discussed in Chapter Two.

Piccolo players may find themselves in situations where composers have written a part which is too low for the instrument. The standard Boehm system piccolo can only play to a D2 (written D1 on the treble clef staff).107 To facilitate a low C#, the player can cover the end of the piccolo with the pinky finger. For a C, or B, players must insert a small cardboard tube into the end of the body of the piccolo, ensuring not to cover the tone hole for the Eb key. These techniques are difficult to execute as the pitch will be incorrect if the finger is not placed precisely, or the artificial extension is not the measured to the proper length.

105 More details surrounding these modifications can be found on the Keefe Piccolos website: www.keefepiccolo.com. 106 Dr. Fonville’s quarter-tone piccolo is mentioned in a variety of publications, including his online biography on the University of California-San Diego website, and several concert programmes: http://music.ucsd.edu/b/John+Fonville. 107 The Nagahara Mini (described as a miniature wooden flute, rather than a traditional piccolo) has low B foot joint. More information can be found at https://www.nagaharaflutes.com/mini.

CONCLUSION

As a result of the work of virtuosic players, experimental composers, and research in the areas of mechanical innovations and the expansion of technical ability, the piccolo has seen a drastic increase of popularity amongst performers, composers and audiences. The piccolo’s solo identity has grown enormously since the 1950s, from making brief appearances in the solo C-flute literature to earning a distinct solo repertoire of its own. The instrument’s range of timbres and malleability of intonation make it an ideal candidate for new music, as demonstrated by the large number of compositions which employ extended techniques and modern compositional devices, and the increasing number of appearances on recital stages around the world.

The confluence of composers and performers has created an ideal laboratory for the piccolo to become a virtuosic soloist of new music. At present, the piccolo possesses a wide array of timbres and extended techniques which are captured in an ever-growing body of repertoire. The piccolo is poised for even further growth as the capabilities of this little coloratura are explored and exploited even more.

CHAPTER TWO, THE MODERN TWIG A practical guide to extended techniques and contemporary composition for piccolo

This resource offers a detailed look at the piccolo’s ability to perform extended techniques and provides a comprehensive fingering chart and commentary on the execution of such techniques. This manual is the result of the study of four definitive texts on extended techniques for C-flute, and extensive practical testing on the piccolo itself. The intention of the manual is to provide a comprehensive and authoritative resource on the scope of contemporary technical possibilities of the piccolo.

Range

The range of the piccolo sounds one octave higher than written. For the purposes of this dissertation, the following references will be used:

Figure 1. Notation of pitches: C# - C#1 - C#2

Fingering Charts and Notation

The fingering charts in this dissertation are arranged in ascending order, from the lowest viable pitch for the technique to the highest. In the case of multiphonics and multiphonic trills, fingerings are arranged in ascending order based on the lowest pitch in the multiphonic, and then from simplest to most complex pitch content. A specific fingering can be found in this chapter by determining the lowest pitch in a given multiphonic or multiphonic trill and finding the section for that fundamental pitch within a particular fingering chart. Once a fingering has been found, notating the alphanumeric identification code in one’s score can assist in future accessibility of the fingering or annotations.

The fingering font for this research project was provided by Whirlwind Press. A solid black key indicates the key should be depressed fully. A key with a slash through it indicates the finger which should be trilled. A key that is half shaded indicates a partially depressed key. For the purposes of this guide, the piccolo font has an additional “x” at the bottom of the key map, which is to indicate the open end of the instrument being covered by the pinky finger of the right hand.

Sample Fingering Chart

Pasdk pasD pasd456 xPasdghj X Standard fingering Trill fingering Half-closed Hole Covered End H

How to Use this Manual

This manual is arranged in four sections – Pitch, Timbre, Percussive Effects & Articulation, and

Multiphonics – with the available techniques sorted into each appropriate heading. Each section has an introductory narrative, while further explanation of each individual technique includes instructions for execution and description of the accepted notational methods with samples from the piccolo and flute repertoire.

Where appropriate, each individual fingering or technique is given a grade based on stability and reliability of execution. This grade is on a scale of 1 to 3 with 1 being the most stable and reliable, and 3 being volatile, unpredictable and difficult to execute. Performance notes include possible dynamic range and comments regarding approach and departure. Other relevant information has been included in the performance notes as well.

The online resource which accompanies this manual – www.moderntwig.ca – will have sample recordings of the techniques and be regularly updated with new information. Composers and performers are encouraged to consult that website for the most up to date information on all extended techniques relating to the piccolo.

PITCH

The piccolo sound is very flexible and can be varied greatly through the use of embouchure adjustments and alternative fingering combinations. What was once the piccolo’s biggest liability has now become one of its greatest assets for contemporary music. A large variety of pitch modifications are available on the piccolo in the form of microtones, microtonal trills & tremolos, bisbigliando (timbral trills), pitch bends, and glissando.

Range

Music for piccolo sounds one octave higher than it is written. The first staff below indicates the written range of the piccolo; the second staff indicates the sounding range. The bracketed notes indicate pitches which may only be available on professional grade instruments or for experienced players with strong and flexible embouchures.

Professional handmade instruments usually offer the most depth and breadth of sound quality and timbres throughout all registers. Typically, student model instruments are less able to provide resonant and clear low register sounds, however they often make a more consistent (albeit less malleable) sound across the range of the instrument. The tone quality of a student model instrument – particularly one made of resin or plastic – will not be as refined as the tone of a handmade wooden instrument. Different types of wood offer varying timbres. Piccolos are most commonly made out of

Grenadilla wood however Kingwood and Redwood instruments are gaining popularity. Players are now also availing themselves of many headjoint options which can also be made in a variety of woods and

have a direct impact on the tone quality of the instrument. Finally, there are now some very fine resin piccolos on the market which make for excellent alternative options for any piccolo player.

Limitations

The piccolo’s closed-hole key structure puts limitations on the number of available fingering combinations. Because the instrument does not have an option for half-hole or quarter-hole fingerings, some fingerings which may be possible on open-hole key system flutes are not available on the piccolo.

In some cases, these pitch alterations can be achieved through an alternative fingering or by way of bending the pitch with embouchure adjustments. In a very few number of cases, a pitch alteration may not be available on an individual piccolo.

Microtones

The standard Boehm-system closed-hole piccolo allows for one-hundred-forty reliable microtones. Due to the closed key structure of the instrument, half hole or quarter hole fingering options are not available as they are on an open hole flute. Alternate pitch augmentation options for piccolo players include partially depressing a key, using a pitch bend by rolling the instrument in or out or through embouchure adjustments. The close quarters of the piccolo key structure can result in difficulty shifting between notes, or at the very least, players may require more time to do so. Composers should consult a piccolo player in addition to reading the notes contained in this manual when writing a technically demanding microtonal passage.

Notation of Microtones

There are two standardized systems of notating microtones – one using reversed flats and sharps with either single or multiple vertical lines to indicate the quality of the pitch, the other using arrows to indicate whether the microtone is higher or lower than the semitone pitch.

Figure 2. Microtonal Notation Option 1 Figure 3. Microtonal Notation Option 2

Some composers choose to use specific pitch alterations, ie. +35 cents. In this instance, it is advisable to write these numbers above the pitch to which they apply.

Fingering Chart

MT001 ppp - mp

Variations of the C# can be played by placing the little finger of the right hand over the open end of the piccolo. Pitch precision is extremely difficult and a stable pitch cannot be produced rapidly so it is Padshjgx advisable that the approach to this note leaves time X for the player to find the correct placement. Advanced preparation will be required to locate the proper placement on their instrument.

MT002 ppp +

Pxasdgh Slightly flat.

MT003 ppp +

Pxasdghk

MT004 ppp +

Slightly flat. Pxasdgj

MT005 ppp +

Pxasdgk

MT006 ppp +

Slightly flat. Timbre is slightly muted or “covered”. Pxasdjh

MT006A ppp + Pxasdhk MT006B ppp + Pxasdjk

MT007 ppp +

Pxasd Slightly flat. Pasdxk MT007A ppp +

MT008 ppp +

Pxasdfgghj Slightly lower than quarter-tone sharp.

MT008A ppp +

Pxasdfg

MT008B ppp +

Pxasdfhjk Slightly higher than quarter-tone sharp.

MT009 ppp +

Pxasdfk

MT010 ppp +

Slightly higher than quarter-tone flat. Pxasgh

MT011 ppp +

Pxasfghj Slightly flat.

MT011A ppp + Pxask

MT012 ppp +

Pxadfghj

MT012A ppp – mp

Very airy tone quality. Not a stable pitch – will overblow easily. Pzsdgh

MT013 ppp +

Pzak

MT013A ppp +

Pxagk

MT014 ppp +

Pxadhj Slightly flat.

MT014A ppp - mp

Slightly flat. Dull tone quality. Pasdghj Pxak MT014B ppp +

MT014C ppp +

Slightly sharp. Pasdfg Pasdg MT015 ppp + Pasdjk MT015A ppp +

Pak MT016 ppp +

MT016A ppp +

Slightly sharp.

Pxgk Psdghjk MT016B ppp +

MT017 ppp +

Pxk

MT017A ppp +

Slightly sharp. Dull tone quality. Pxasdfnk

MT018 ppp +

Psdjkh Slightly flat.

MT018A ppp +

Pkg Slightly flat.

MT018B ppp +

Pk Padbk MT019 ppp +

MT019A ppp +

Slightly sharp. Pk

MT020 ppp +

Psbk Slightly flat. Pxsdghj MT020A ppp +

MT020B ppp +

Slightly sharp. The first trill key should be played by leaning on it with the middle finger. Pxsdbhgj

MT021 ppp +

This fingering may produce a pitch which is closer to E

Pzbnk quarter-tone flat (See MT022)

MT022 p +

Very difficult fingering combination: the first trill key should be played by leaning on it with the middle Pxsdghjkbn finger, the second trill key should be played by leaning on it with the fourth finger.

MT023 ppp +

Pxsdghjk Pxasdghk MT024 ppp +

MT024A ppp +

Pxasdghkb More hollow tone color than the standard fingering. MT025 ppp +

Pxasdgnj Slightly sharper then quarter-tone sharp.

MT025A ppp +

Slightly sharper then quarter-tone sharp. Pxasdgj Pxasdgkkj MT025B ppp +

Pxasdgk MT026 ppp +

MT026A ppp +

Slightly airy tone quality. Pxasdgbk

MT026B ppp +

Pxasdnkg Slightly airy tone quality.

MT027 ppp +

Slightly less than quarter-tone sharp. Pxasdhjk

MT027A ppp +

Pxasdhj

MT028 ppp +

Pxasdhk Slightly lower than the standard fingering (MT028A).

MT028A mp + Pxasdjk

MT029 ppp +

Pxasdfgh Adding the Eb key changes the timbre slightly.

MT029A ppp +

Adding the Eb key changes the timbre slightly. Pxasdfhj

MT029B ppp +

Pxasdgjgf Adding the Eb key changes the timbre slightly.

MT030 ppp +

Pxasdk

MT031 mp +

Pxasdfjk

MT031A mp + Pxasdfk

MT032 mp +

Pxsdfak

MT033 mp +

Aperture must be small and air stream fast , otherwise this microtone may split into a Pxasdfkn multiphonic. Pcxsahjk MT034 ppp +

MT034A ppp +

Pxasfjhk Pxasgk MT034B ppp + Pxashk MT034C ppp +

MT034D ppp + Pxasjk

MT035 ppp +

Pxask

MT035A ppp +

Slightly sharp. Pxasghj

MT036 ppp +

Slightly flat. This fingering only works with the thumb Pzahjk B-flat key.

MT036A ppp +

Slightly flat.

Pxaghk

MT036B ppp +

Pxagjk Slightly dampened timbre.

MT037 ppp +

Pzak

MT037A ppp +

Pxagk Pxav MT037B ppp +

Paxdghjk MT038 ppp +

MT038A ppp + Pxagkj

MT039 ppp +

Pxakd The lowest of the MT039 fingerings.

MT039A ppp +

Paxjk Pxahk MT039B ppp +

MT039C ppp +

Pxak

MT040 pp +

The lowest of the MT040 fingerings.

Padjhk

Padhk MT040B pp +

MT040C pp +

Padjk Padhjkg MT040D pp +

MT041 ppp +

Pak

MT041A ppp +

Slightly sharp.

Pxk Psdghjk MT042 p +

MT042A pp +

MT042B ppp + Ph

MT042C ppp + Pj

MT042D ppp + Pd

MT042E mp +

Slightly Sharp. The lever key can be played by leaning on it with the first finger, or, if there is enough time, gPvk by paying the Bb lever with the first finger and using the middle finger to play the F key.

MT043 pp +

Pk Pabk MT043A p +

MT043B p + Psgbk

MT044 pp +

Slightly Flat. The second trill key can be played with Pxsdgnk the middle finger.

MT044A pp +

The second trill key can be played with the middle Pxsdnjk finger, or by leaning on it with the fourth finger.

MT044B p +

Penka

MT044C p +

Pbk

MT045 ppp +

Pxsdk

MT045A ppp +

Slightly higher. Pxsdnk

MT046 pp +

Pxsdfk

MT047 ppp +

Pxasdfghjk

MT048 mp +

A difficult finger combination, the first trill key can be played by leaning on it with the middle finger and the Pxasdfghjbnk second trill key can be played by leaning on it with the fourth finger.

MT048A pp +

Slightly higher.

Pxdbnkas

MT048B pp +

Slightly higher. The first trill key can be played with the first finger, the second trill key can be played with Pxfbnkfdjdds the middle finger.

MT049 mp +

Pasxghk

MT049A mp +

Slightly higher.

Pxasghbnk

MT050 p +

Requires a firm embouchure and very fast air speed.

Pxadghk

MT050A p +

Requires a firm embouchure and very fast air speed.

Pxadfghk

MT051 pp +

Pxadgk

MT052 mp +

Slightly lower. May not work on all instruments or for Pxadghj all players.

MT052A mp +

Pxak Requires a firm embouchure and very fast air speed.

MT053 pp +

Slightly lower.

Pxadkh

MT053A pp +

Pxadkj

MT054 p +

Pasdhj Requires a firm embouchure and very fast air speed.

MT054A p +

Pasdjkh Slightly higher.

MT055 p +

Pdajk Slightly lower.

MT055A mp + Pasdk

MT056 mp +

Slightly lower. Requires a firm embouchure and very fast air speed. Psdhgjk

MT056A mp +

Pasdfk

MT056B mp +

Requires a firm embouchure and very fast air speed.

Pdvj

MT057 mp +

Softer dynamics and refined tone quality will only be available to advanced players. The right hand fingers are optional but often add stability to this pitch. Pasdfhjk

MT058 mp +

Softer dynamics and refined tone quality will only be available to advanced players. Psdfk Slightly lower. MT058A mp +

Softer dynamics and refined tone quality will only be available to advanced players. May register as G# on Pshj some instruments.

MT059 mp +

Softer dynamics and refined tone quality will only be available to advanced players. Pxsgk

MT060 mf +

Slightly lower. Softer dynamics and refined tone quality will only be available to advanced players. Pxsgbk

MT060A mf +

Softer dynamics and refined tone quality will only be Pxasgbk available to advanced players.

MT060B mf +

Slightly higher than quarter-tone sharp. Softer dynamics and refined tone quality will only be Pxasdfgkb available to advanced players.

MT061 mf +

Softer dynamics and refined tone quality will only be Pzgb available to advanced players.

MT061A mp +

Softer dynamics and refined tone quality will only be Pxgb available to advanced players.

MT062 mf +

Slightly lower. Softer dynamics and refined tone Pzgbk quality will only be available to advanced players.

MT062A mf +

Softer dynamics and refined tone quality will only be Pxbgk available to advanced players.

MT063 f +

Softer dynamics and refined tone quality will only be {Pxgbn available to advanced players.

MT064 f +

Pasdfg Likely unachievable for lower level players

MT065 f +

Likely the highest note for advanced players. Extremely difficult to sustain beyond one second. Pasdfgn Extremely difficult to play without a scalar approach.

MT066 ff +

Virtually unplayable except on some instruments by piccolo specialists. Little to no sustainability due to Pasdfgnb the amount of air and force required.

MT067 ff +

Virtually unplayable except on some instruments by piccolo specialists. Little to no sustainability due to Psdfgbn the amount of air and force required.

Microtonal Trills and Tremolos

Standard trills, of either whole tones or semi-tones, are available throughout the whole range of the piccolo. Fingerings for these trills have not been included in this manual but are available in other pedagogy books such as Jan Gippo’s The Complete Piccolo108 or Piccolo Craft by Andrew Lane.109

Limited numbers of microtonal trills are available on the piccolo due to the inability to partially cover a hole. Microtonal trills which require the player to use partially depressed keys are impractical and should be avoided. In these instances, timbral trills can often provide a suitable substitute.

Tremolos are effective and possible throughout the majority of the piccolo’s range. Tremolos in the extreme high register are not recommended due to the difficulty in sustaining such pitches and the embouchure flexibility required to move between them. High register fingerings are often impractical for the purposes of tremolos.

Notation of Microtonal Trills and Tremolos

Microtonal Trills and Tremolos are notated as a regular trill would be, using trill signs and tremolo lines, however composers should include the desired fingering, listed above the note, and a destination note in brackets beside the main pitch. The method of showing an accidental next to the trill sign may cause confusion, particularly when involving microtones, so an explanation in the glossary is recommended.

108 Jan Gippo, The Complete Piccolo. (King of Prussia, PA: Theodore Presser, 2007). 109 Andrew Lane, Piccolo Craft. (Birmingham, UK: Self-Published, 2008).

Fingering Chart

MTT001 ppp +

Aim the air downward. PasdgxJjk

MTT002 ppp +

Aim the air downward.

PacxdshjkH

MTT003 ppp +

PaxsdfghjHJ

MTT004 ppp +

Aim the air downward. PaxshjghGHJ

MTT005 ppp +

PasxHJhjk

MTT006 ppp +

Aim the air downward. PaxdkD

MTT007 ppp +

Aim the air downward. PadskSD

MTT008 ppp +

PakGHJghj

MTT009 ppp +

PSSskdghj Aim the air downward.

MT009A ppp + PghjkdsSD

MTT010 ppp – mp

Aim the air upward.

PabkA

MPP011 ppp +

PnkASas Direct the air slightly downward.

MTT011A ppp + bnkASasP

MTT012 ppp +

A very difficult trill due to the complex fingerings. Perhaps only available at a slow tempo. Direct the air upward. Open the first trill PxsdghjbnkkBN key by leaning on it with the middle finger. Open the second trill key by leaning on it with the fourth finger.

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MTT013 ppp +

Aim the air downward. PaxsdgjkJ

MTT014 ppp – mp

Aim the air downward and use a very gentle air speed. PaxsdhjkH

MTT015 ppp +

Aim the air downward. Keep the aperture wide. Open the trill key gently. PaxsdbjkB

MTT016 ppp +

PaxsadfkjJjhHJ Aim the air downward.

MTT016A ppp +

PaxsdfghjjkGH Aim the air upward.

MTT017 ppp – mp

PasdxgfkJHhj

MTT018 ppp +

Aim the air downward. Any right-hand keys will work. PxasfghjkHJG

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MTT019 ppp +

Aim the air upward.

PazdkD PxasGHghk MT020 ppp +

MTT020A ppp + PzadkHh

MTT021 ppp + PxadDjkjh

MTT021A ppp +

PasdghjkK Aim the air downward. PasskS MTT022 ppp +

MTT022A ppp +

Aim the air downward. Timbre is slighlty more PsadghjJ covered than MTT022

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MTT023 ppp +

Aim the air downward.

PxhjkGg PghjGHJk MTT024 ppp +

MTT024A ppp +

PxhjkX Aim the air upward.

MTT025 ppp +

Aim the air downward. The D3 may sound slightly flat on some instruments. Adjustments PadbkA with the embouchure can counteract this natural tendency.

MTT025A ppp + PSsbk

MTT026 ppp +

PasdghjKkx

MTT027 ppp +

PFfaxsdfghjh Aim the air downward and use a fast air speed.

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MTT028 ppp +

Aim the air downward and use a fast air speed.

PaxsghjkJ

MTT029 mf +

Aim the air slightly upward and use a fast air speed. PaxdgkA

MTT030 f +

Aim the air slightly upward and use a fast air PasghH speed.

MTT031 mp +

Aim the air upward and use a fast air speed. PasdghjFFf

MTT031A mp +

Aim the air upward and use a fast air speed PasdghjA

MTT031B ppp –

PasdghjG Aim the air upward.

MTT032 pp – f

Aim the air upward. This fingering provides additional resistance which may cause PadfskA alterations in the pitch unless the performer has refined control of the embouchure.

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MTT032 ppp – mp

Aim the air upward. This fingering provides additional resistance which may cause PasdfkJjhH alterations in the pitch unless the performer has refined control of the embouchure.

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Bisbigliando

Bisbigliando, better known as timbral trills, are trills between two microvariations of the same pitch.

This fingering chart includes all the possibilities for fingerings of timbral trills on each pitch. Fingerings are ordered starting with the widest microvariation (biggest audible change in pitch) to the smallest.

Composers are advised to specify which pitch variation or fingering should be used.

Notation of Bisbigliando

Notation of bisbigliando (timbral trills) varies from one composer to another. The most commonly used notation shows “bisbig.” or “timbral” above the designated note. If a specific sound is desired the composer should include the fingering of choice, listed either above the note it is to be used on or in an index or glossary.

Figure 4. Brian Ferneyhough, Superscriptio – Bisbigliandi indicated in glossary but notated as regular semitone trills

Figure 5. James Dillon, Diffraction – bisbigliando notation

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Fingering Chart

BG001 ppp – mf

PasdghKx

BG002 ppp – ff

PasdxgkkJ PasdkjxjH. BG003 ppp – ff

BG003A ppp - mf

This fingering may cause a whistle to occur, or for the trill to be wider than a microinterval, on PasdxBkj some instruments.

BG004 ppp – mf

PasdxkK

BG005 ppp – ff

Either right hand key will work. Trilling the F key provides the widest interval.

PxasdfkHGJ

107

BG006 ppp - mf

Either right hand key will work. Trilling the F key provides the widest interval.

PxaskGHJ

BG007 ppp – ff

This fingering results in a very wide PxagkD. microinterval.

BG007A ppp – ff

Provides a noticeable color change with a PxagHk relatively small microinterval.

BG007B ppp – ff

Very slight, almost inaudible, change. PxagJk

BG007C ppp – ff

This fingering results in a very wide microinterval. PzaDk

BG007D ppp – ff

Any right hand keys will work when using the PzaGHJk thumb Bb key

BG008 ppp – ff

PxaDk.

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BG008A ppp – ff

PaxkH PxaJk BG008B ppp – ff

BG009 ppp – ff

This fingering results in a very wide microinterval. PaSk

BG009A ppp – ff

PaewerDk.

BG009B ppp – ff

Any right hand keys will work. The F key PaGHJk provides the widest microinterval.

BG010 ppp – ff

The A and G keys can be used together or individually. Using the two keys together PkSD. provides the widest microinterval.

BG010A ppp – ff

This fingering results in a very wide PXk microinterval.

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BG010B ppp – ff

Any right-hand keys will work. PGHJk PxsdghjA BG011 ppp – ff

BG011A ppp – mf

Wiggle the right-hand pinky finger over the open end of the piccolo. Do not seal the hole entirely. Psdxghj The disruption of the air will cause a bend in the X pitch. PxsdghjkA BG012 ppp – ff

BG012A ppp – ff

A slow trill can be played by wiggling the middle finger against the first trill key while it is PxsdghjkB depressing the E key. This can only be done at a slow speed.

BG013 ppp – ff

PxasdghK

BG013A ppp – ff

Wiggle the right-hand pinky finger over the open end of the piccolo. Do not seal the hole entirely.

OOPasdghx The disruption of the air will cause a bend in the pitch.

110 X

BG014 ppp – mp

Either trill key will work. This fingering may cause a whistle to occur, or for the trill to be

PxasdgkBN wider than a microinterval, on some instruments. BG015 ppp – ff

PxasdkjH

BG015A ppp – mp

Either trill key will work. This fingering may cause a whistle to occur, or for the trill to be PxasdBNjk wider than a microinterval, on some instruments. BG016 ppp – ff

PxasdkB

BG017 ppp – ff

Either right-hand key will work. PxasdfkHJHG

BG018 ppp – ff

Either right-hand key will work. PxaskGHJ

BG019 ppp – ff

Either trill key will work.

PxagkBN

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BG019A ppp – ff PxaDgk

BG019B ppp – ff

PxagkHJ Either right-hand key will work.

BG020 ppp – ff

PxakD.

BG020A ppp – ff

The E and D keys can be used together or individually. PaxHJk

BG021 ppp – ff

Either left-hand key will work.

PakSD.

BG021A ppp – ff

Either right-hand key will work.

PaGHJk

BG022 ppp – ff

The A and G keys can be used together or individually. PkDS.

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BG022A ppp – ff

PXk

BG022B ppp – ff

PGHJk Either of the right-hand keys will work.

BG023 ppp – ff

PxsdkA.

BG023A ppp – ff

Either of the right-hand Keys will work. PxsdGHJk

BG024 ppp – ff

PxasdFghjkghf

BG025 ppp – ff

PxasghkD

BG025A ppp – ff

PxasghJk

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BG026 pp – ff

Softer dynamics will only be available to more advanced players. PxadkgS

BG026A pp – ff

Softer dynamics will only be available to more advanced players. PxadgkJ

BG027 pp – ff

Softer dynamics will only be available to more advanced players. PxadkjS

BG027A p – ff

Softer dynamics will only be available to more PxadVkj advanced players.

BG027B p – ff

Softer dynamics will only be available to more advanced players. PxadjkB

BG028 p – ff

Softer dynamics will only be available to more advanced players. PadskJ

BG028A p – ff

Softer dynamics will only be available to more advanced players. PasdNk

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BG029 mp – ff

Softer dynamics will only be available to more advanced players. {PsdfkPA

BG030 mp – ff

Softer dynamics will only be available to more advanced players. PxskgBN Either trill key will work. BG030A mp – ff

Softer dynamics will only be available to more PxAsgk advanced players.

BG031 mp – ff

The left hand first finger can be used but on most instruments this note speaks better without that key being used. Pxgbk

Only advanced players will be able to sustain this pitch for more than a few seconds.

BG032 mf – ff

Only advanced players will be able to sustain this pitch for more than a few seconds. Some instruments are unable to play it at all. PxbnkgN Bisbigliando is possible but difficult.

BG033 mf – ff

Only the most advanced players will be able to sustain this pitch for more than a second. Some PasdfgB instruments are unable to play it at all. Bisbigliando is possible but highly unlikely.

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BG033A mf – ff

Only the most advanced players will be able to sustain this pitch for more than a second. Some Pasdfg instruments are unable to play it at all. Bisbigliando is possible but highly unlikely.

BG034 f – ff

Only the most advanced players will be able to sustain this pitch for more than a second. Some PsggfkB instruments are unable to play this pitch. Bisbigliando is virtually impossible for these X reasons.

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Pitch Bend and Glissando

The piccolo’s biggest liability has become one of its greatest assets in the realm of contemporary music and extended techniques: the incredible flexibility of pitch and intonation on the piccolo enables a wide range of pitch bending and glissando.

Pitch Bend

The simplest way to create a pitch bend is by rolling the instrument inwards (to lower or flatten the pitch) or outwards, away from the player (to raise or sharpen the pitch). This can be combined with or supported by movements of the player’s embouchure, jaw, and head in general. Embouchure adjustments and movements of the physical body enable changes to the air angle which in turn create pitch modifications. It is important to note that the further the air stream is moved from the normal playing position (ie. by rolling the instrument in or out), the less dynamic control is available, and the resulting sound will become quieter and have poorer tone quality.

Glissandi

Due to the lack of open holes, the standard piccolo is not as readily able to create smooth glissandi as it’s open hole C, alto, and bass flute counterparts. Glissandi on the piccolo can be created through the combination of pitch bends and the slow release of depressed keys, to either half or fully open keys.

Downward glissandi are less easy to control than upward glissandi because it is more difficult to depress keys in a smooth manner than it is to release them. Composers may alternatively choose to write a chromatic or pitched glissando scale gesture in lieu of a true glissando.

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Notation of Pitch Bends and Glissandi

The notation of pitch bends and glissandi have been standardized for some years, thanks to their use in western classical music since the late nineteenth century. Pitch bends are often notated as straight lines between the starting and finishing notes, or as a curved line falling away from the note when referencing a drop in pitch at the end of a note (also known as a ‘fall’ in jazz idioms). Pitched glissando scales are notated with a scalloped line in the direction of the glissando or with the notation “gliss.” above the intended notes.

Figure 6. James Dillon, Diffraction – glissandi notation

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TIMBRE

The desire for new and different sounds has been a driving force in the experimentation of new music for flutes. Due to the malleability of the piccolo sound, changes to timbre are more evident than on the C, alto, or bass flutes. Depending on the instrument in question, and with some dedicated practice on the part of the performer, the piccolo is capable of employing timbres ranging from airy, hollow or woody sounding, to a razor-sharp sound with a reedy or nasal quality.

Alternate fingerings

Alternate fingerings are an essential item in the piccolo player’s tool kit. Alternate fingerings are used to maintain intonation, facilitate easier articulation, enable the full range of dynamics in all registers, and modify tone colours for expression or artistic purposes.

Suggestions for alternate fingerings for the purposes of intonation, articulations, and dynamics can be found in a variety of piccolo texts, however this author most highly recommends Jan Gippo’s The

Complete Piccolo as the most comprehensive resource for alternate fingerings. Included in the present manual is a selection of alternate fingerings which provide a range of modified timbres that might be beneficial to composers or performers in specified situations.

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Fingering Chart

A001 ppp +

Alternate timbre. Psdhjga

A002 ppp – p

Enables an in-tune C with the ability to sustain.

Pasdgk

A003 ppp – p

Enables an in-tune C# with the ability to sustain.

Pasdj

A004 ppp +

Alternate timbre. Pasdfgxk

A005 mf +

A more in-tune fingering for piccolo than the traditional fingering used on C-flute. Softer Pbngx dynamics will be available to more advanced players with refined embouchure control.

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Whistle Tones

Whistle tones are a highly effective and as yet under-utilized extended technique for the piccolo. Few pieces in the piccolo repertoire avail of this technique, however many whistle tones are available throughout the range of the instrument.

Notation of Whistle Tones

Whistle tones can be notated in a variety of ways. Some composers write “W.T.” above the pitches which are to be affected. In the following example from Éole by Pierre-Yves Artaud, accents are placed on the stems of the notes to indicate which pitches are whistle tones.

Figure 7. Pierre-Yves Artaud, Éole – whistle tone notation

For the purposes of this manual, the fingered pitch is shown in brackets and the available sounding pitches are written above without brackets. In some cases, whistle tones are available in pitches lower than the fingered pitch. The pitches shown in this manual are written, not sounded. All pitches will sound one octave higher than they appear here. All available pitches are ordered from lowest to highest.

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Note: the individuality of each player’s own embouchure and playing style will affect the production of these tones. Suggestions provided are a guideline only and may not work for every player.

Experimentation is the key to success.

Fingering Chart

WT001 ppp - p

The fifth (A) is often the first pitch to speak. The lower octave (D) is accessible by dropping the jaw and relaxing the corners of the embouchure while maintaining a downward angled air stream.

Stability: 2 WT002 ppp – p

The fifth (Bb) is often the first pitch to speak. The lower octave (Eb) is accessible by dropping the jaw and relaxing the corners of the embouchure while maintaining a downward angled air stream.

Stability: 2 WT003 ppp - p

The fifth (B) is often the first pitch to speak. The lower octave (E) is accessible by dropping the jaw and relaxing the corners of the embouchure while maintaining a downward angled air stream. This low octave, when found, can sound at a mp volume – much stronger than the other whistle tones in this

series!

Stability: 2 WT004 ppp - p

The A3 and C4 whistle tones may also be available to some players on this fingering, however those pitches are more reliable on the third octave, F3 fingering.

Stability: 2

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WT005 ppp – p

The A#3 whistle tone may also be available to some players on this fingering, however it is more reliable when using either the fingering for A#1 or A#3 itself.

Stability: 2 WT006 ppp – mp

All of the whistle tones available on this fingering are quite stable and therefore are able to be played at the mp volume with ease.

Stability: 1 WT007 ppp - mp

All of the whistle tones available on this fingering are quite stable and therefore are able to be played mp with ease.

Stability: 1 WT008 ppp - mp

All of the whistle tones available on this fingering are fairly stable and therefore are able to be played mp with ease.

Stability: 2 WT009 ppp - mp

All of the whistle tones available on this fingering are quite stable and therefore are able to be played at the mp volume with ease.

Stability: 1 WT010 ppp - mp

All of the whistle tones available on this fingering are fairly stable and therefore are able to be played at the mp volume with ease.

Stability: 2

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WT011 ppp - mp

The C3 whistle tone on this fingering is quite stable and therefore able to be played at the mp volume with ease. The G4 whistle tone is less stable on this fingering and therefore only available at a lesser dynamic level.

Stability: 1 / 2 WT012 ppp - p

The D3 whistle tone on this fingering is quite stable, however the F#4 and A4 pitches are less so. The F#4 and A4 pitches would be more stable on fingerings of the same pitch. The D2 (fingered pitch) may also be available to some players who can engage a modified embouchure.

Stability: 2 WT013 ppp - mp

All of the whistle tones on this fingering are fairly stable The Eb2 (fingered pitch) may also be available to some players who can engage a modified embouchure.

Stability: 2

WT014 ppp - mp

All of the whistle tones on this fingering are quite stable. A G4 whistle tone may also be available to some players who can engage a highly refined embouchure.

Stability: 1

WT015 ppp - mp

All of the whistle tones on this fingering are fairly stable. Eb2 (octave below the fingered pitch) is accessible by dropping the jaw and relaxing the corners of the embouchure while maintaining a downward angled air stream.

Stability: 2

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WT016 ppp - mp

Most of the whistle tones on this fingering are quite stable. The C#3 whistle tone is available to some players who can engage a highly refined embouchure. The G#4 whistle tone is more stable when using the fingering for that pitch.

Stability: 1 / 2 WT017 ppp - p

All of the whistle tones on this fingering are fairly stable but may not be possible at a louder dynamic – this will depend on the player and instrument. The A4 whistle tone is more stable when using the fingering for that pitch or the octave below.

Stability: 1 WT018 pp – mp

The B2 is quite a stable whistle tone on this fingering. The F#3 and A#3 are both far less stable and require a very precise embouchure set up.

Stability: 1 – 2 WT019 pp - mp

All of the whistle tones on this fingering are fairly stable.

Stability: 1

WT020 pp – mp

This whistle tone series is fairly stable on all pitches.

Stability: 2

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WT021 ppp - p

This whistle tone is unstable. Using the fingering for a lower pitch may provide more stability on these pitches.

Stability: 3 WT022 p - mp

The whistle tones on this fingering are fairly stable.

Stability: 2

WT023 ppp - mp

The whistle tones on this fingering are fairly stable.

Stability: 2

WT024 ppp - p

The whistle tones on this fingering are unstable. The player might be better served by using the C2 fingering.

Stability: 1

Due to the lack of an octave key – ie. the fingerings for these notes are the same as the fingering for the octave lower – there are no differentiated whistle tones available on the following pitches:

126

Aeolian (Wind) Sounds

The piccolo is capable of creating a variety of aoelian sounds (also commonly called wind sounds or residual sounds/noise) through the blowing of air across the instrument with a modified embouchure, or by covering the embouchure hole of the head joint with the lips and blowing air directly into and through the length of the instrument.

Pitched Aeolian Sounds

Aeolian sounds can be created on virtually any fingering available on the instrument. Dynamics are possible from the softest to the loudest, however it is important to note that these types of sounds require a vast amount of air and frequent breaths will be required to sustain loud volumes.

Amplification may be needed in some situations.

Jet Whistles

The jet whistle is a unique and exciting effect produced by closing the embouchure hole of the flute with the lips and blowing a forceful gust of air directly into the instrument. Due to the short length of the tube and its small diameter, the jet whistle is not as effective on the piccolo as it is on the larger flutes.

The sound of the jet whistle can be altered by changing the placement of the piccolo on the aperture.

Notation of Aeolian Sounds

Aeolian sounds are most often indicated by diamond note heads, either shaded or not, on the regular rhythmic structures of standardized notation. Jet whistles are indicated by an arrow pointing up with the abbreviation “Jet” written above. Composers may also indicate to use an ordinary sound (with the abbreviation “ord.”) on the following notes which resume a traditional playing technique.

127

Figure 8. Bart Spaan, Halo - Wind tone and chromatic glissando notation

Figure 9. Ian Clarke, Zoomtube – Jet Whistle notation

128

Singing & Playing

A flutist may play and sing simultaneously in order to create a new timbre of the flute sound. It is possible to a) sing an individual pitch while playing a melody on the flute; b) play one pitch on the flute while singing a melody; or c) in its most complex format, to sing and play two different melodic lines.

Singing while playing works as well on the piccolo as it does on the C-, alto, or bass flutes. In most cases, the sung pitches will have to be lower than the piccolo sounding pitches, simply due to the tessitura of the instrument and the unlikely ability of the player to sing in the same octave! Male players may have more range by using their falsetto voice, however composers should plan in advance for an octave or more disparity between the sung and played lines, unless s/he has a player with specialized abilities or vocal range in mind for the part.

Vocal Glissandi

An interesting effect can be provided by a vocal glissandi performed whilst the piccolo is sustaining a singular pitch. The action of the voice ascending or descending while another note is sustained by the instrument causes an interference in the sound which results in a very effective color change.

Notation of Singing and Playing

Singing and playing is most commonly notated with a double staff or two voices contained on a single staff. In the latter instance, the played pitches are written with regular note heads and the sung pitches using square note heads. It is advisable for the composer to include a directive such as “sing” or “sing bottom line” to make clear the intention for the player.

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Figure 10. Ian Clarke, Zoomtube – Sing and Play with Multiphonic notation

Vocal glissandi are notated similarly, with the sung pitch employing a square note head and directional lines or arrows indicating the length and range of the sung glissandi.

Figure 11. Ian Clarke, Zoomtube – Vocal glissandi notation

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Smorzato (Lip Vibrato)

Smorzato, or Lip Vibrato, is an effect which is possible on all flutes, including the piccolo. The player can execute this technique by pulsating the lips open and closed. Some players may find that jaw movement is required, or at the very least, helpful, in creating this sound. The effect of the smorzato vibrato is similar to a “wah wah” sound – far more deliberate and less graceful than the natural vibrato done with the air and diaphragm.

Notation of Smorzato

Smorzato is generally indicated by a wavy vibrato line and either “Smorzato” or its shortened form

“smorz.” written in the music above the affected notes.

Figure 12. James Dillon, Diffraction – Smorzato notation

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Harmonics

Harmonics can be created on the piccolo the same way they are produced on the larger flutes. Higher tones are created using fingerings for lower pitches. Composers can use harmonics to harness a variety of timbres, and players may employ them to stabilize intonation or response of a particular note.

Notation of Harmonics

Harmonics can be indicated in two different ways. Composers have the option to write the note they wish to hear and leave the choice of fingering to the performer. The standard notation for a harmonic is to write the sounding pitch with a circle above it indicating that it should be played with a harmonic fingering. Alternatively, the composer may specify which lower register fingering is used with the square note heads and use a regular note head (with or without the circle) to indicate the sounding pitch. These two pitches are often connected by a stem when the rhythm allows for it.

Figure 13, Pierre-Yves Artaud, Éole – harmonic notation

For the purposes of this document the fingered pitch is written as a square note head, with the possible harmonic sounding pitches stacked on top of it in regular note heads.

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Fingering Chart

H001 p – mf

H002 p – f

H003 p – f

G#3 may be unavailable to some players. It requires a significant amount of air speed and a strong embouchure.

H004 p – f

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H005 p - mf

F#3 is typically only a quarter-tone sharp.

H006 p - mf

G3 may be unavailable to some players or on some instruments. It requires a significant amount of air speed and a strong embouchure.

H007 p – mf

H008 p - mf

A3 may be unavailable to some players or on some instruments. It requires a significant amount of air speed and a strong embouchure.

H009 p – mf

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H010 p – mf

H011 p – mf

G3 may be unavailable to some players or on some instruments. It requires a significant amount of air speed and a strong embouchure.

H012 p – mf

G3 is often a quarter-tone sharp on this harmonic fingering. It may be unavailable to some players or on some instruments. It requires a significant amount of air speed and a strong embouchure.

H013 p – mf

A3 may be unavailable to some players or on some instruments. It requires a significant amount of air speed and a strong embouchure.

H014 p – mf

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PERCUSSIVE TECHNIQUES AND ARTICULATION

In traditional flute playing, articulation in standard playing helps to start and shape a note, however it can also be used to create percussive. The range for percussive techniques and articulated percussive sounds varies slightly from one to the next, however they generally work best on the piccolo in the low range, as most keys are closed, and the maximum length of tube is being used.

Response of Articulations

The piccolo, having a sensitive and easily manipulated tone, offers a wide range of response times to a variety of articulations. Players will find that some articulation styles work best on certain notes, pitch ranges, or for a particular dynamic.

In general terms, the low register of the piccolo requires a firm tongue when the louder dynamics are required. Using a firm tongue on the hard palette of the mouth helps the notes speak clearly and allows the sound to travel further through the space. It is also advisable that piccolo players increase the written dynamic level of low register passages, as soft dynamics in this area often do not carry well throughout a concert hall.

The middle register of the piccolo will be more assertive if the player uses a French style of articulation, with the tongue releasing from between the lips instead of striking behind the teeth on the hard palette or roof of the mouth. This type of articulation can be used quite successfully however it can take a considerable amount of practice to become proficient in its use.

Articulation in the high register is often instrument and player-dependent. As with any instrumentalist, it is important for piccolo players to spend time getting to know their instrument and learning how each note reacts to different articulations and at varying dynamics. For high register work on all piccolos, a supported air stream –engaging the core muscles of the body – and strong

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embouchure (there is a certain level of “face fitness” required to play the piccolo which can only be gained by working at it and increasing one’s strength and endurance gradually) are necessary. Generally, the soft dynamics in the high register will be more difficult to cleanly articulate and sustain for any great length. The player will need to be able to execute a fast and precise release of the tongue to release the air through a small, highly focused aperture. Alternate fingerings can be used in some circumstances to facilitate easier articulation.

Articulated Air Sounds

Air and articulation can be combined to produce a variety of percussive sounds on the piccolo. In combination with various consonants and vowels, these sounds can provide variations on the standard percussive sounds available on the instrument.

Suggested or standard sounds include the articulation patterns of “teh”, “pe”, “ke” and “se”.

These are also some of the basic sounds that provide the foundation for beatboxing, a new technique brought to popularity by flutist Greg Patillo and explained in Tillman Dehnhard’s The New Flute. Flutists are also able to create an effective hissing sound which can also be amplified by the piccolo’s own natural resonance110. This effect has a similar airy quality to the Jet Whistle. Articulated air sounds can be played on individual notes, while the hissing sounds work well with a slurred melodic passage or an individually sustained note.

Composers should be advised that these sounds may not readily project in their natural acoustic state, particularly on the piccolo which cannot offer as much natural resonance as a larger instrument. It

110 The hissing timbre is created by the use of a nontraditional embouchure: lifting the upper lip significantly – so as to expose the canine teeth! – and making the hissing sound with one’s air. The size and shape of this modified embouchure can be adjusted to suit the artistic needs of the piece. This effect uses a large amount of air and therefore cannot be sustained for an extended period of time.

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would be advisable for the composer to have these techniques tested in advance of a performance and consider amplifying that particular section of the piece if necessary. This technique can be further expanded by including the voice in a sprechstimme style of speaking whilst playing.

Notation of Articulated Air Sounds

These types of articulated air sounds should be notated with either an open note head or the use of an

“x” as the note head. Composers should indicate the desired articulation above the notes using the appropriate letter combinations.

Figure 14. Ian Clarke, Zoomtube – articulated air sounds notation

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Ribattimento

Ribattimento is the musical term for the repeated articulation of a single pitch, which gains or loses tempo, and sometimes both. Ribattimento is most effective when accompanied by a corresponding change of dynamic, for example: if a crescendo and decrescendo happen in time with the desired accelerando and ritardando.

Notation of Ribattimento

Ribattimento is notated with feathered beams, where the number of beams increases to show an increase of speed, and a decrease of speed when the number of beams narrows to one. A composer may also choose to use arrows and the “ad lib” marking to indicate the speed and freedom of the articulations.

Figure 15. Ken Benshoof, In Shadow, Light – ribattimento notation

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Flutter Tonguing

Flutter tonguing is now a standardized technique which appears in a broad spectrum of pieces throughout the repertoire of all four flutes. While it is no longer considered an extended technique, however flutter tonguing can be used in combination with several other types of extended techniques to create even more interesting and varied sounds. Flutter tonguing can be produced by the tip of the tongue or the uvula. Most players have a natural preference for one method or the other.

Tip of the Tongue Flutter: fluttering created by the tip of the tongue is similar to a rolling of the R in

Spanish or Italian.

Uvula Flutter: The uvular flutter is often the more difficult variety of flutter tonguing to produce. It works well however for flutter tonguing in the low register, where the notes are more sensitive to disruptions in the air stream. Uvular flutter can be compared to gargling water in the back of the throat.

It is easier to slow down because less air speed is required than for fluttering with the tip of the tongue.

Notation of Flutter Tonguing

Flutter tonguing is most commonly notated with three slashes through the note stem and “Fl.” Or “Flz.” above the pitches.

Figure 16. James Dillon, Diffraction – flutter tonguing notation

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Pizzicato

Pizzicati are possible on all flutes, however the piccolo’s version of this technique is arguably more pointed and less resonant than on the larger instruments. Pizzicato on flutes can be performed with the lips or the tongue, as well as by a popping sound which is then amplified by the instrument. Each of these versions of pizzicato are demonstrated and notated here.

Pizzicato (T sound): A hard “T” articulation – with the tongue stiffened and used firmly against the hard palette of the mouth – will create a percussive sound without an instrument present. When the piccolo is held to the chin, the instrument helps that sound resonate and amplifies it to a more audible volume.

Lip Pizzicato: A lip pizzicato can be created much in the same way as the French style of standard articulation. The tongue is placed between the lips (primarily against the upper lip) and then quickly released. This action creates an explosive sound which is amplified by the piccolo.

Pizzicato (Pop): This is another sound that is created by the lips of the player and amplified by the acoustic instrument. The pop sound is created by closing and rolling ones’ lips inward and then releasing them quickly outward to create the popping sound. Opening the mouth as you release the lips helps to enhance resonance. Doing this whilst holding the piccolo in playing position helps to amplify the sound.

Notation of Pizzicato

Notation for pizzicato is most often represented with an “x” or “>” note head, with a written indication such as “pizz.” above the notes to which the technique applies.

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Pizzicato tonguing in this register are quite resonant and respond well to the articulation.

PZ002 ppp – p

Pizzicato tonguing in this register results in pitches an octave below the written pitch (same tones as the above register) due to the lack of an octave key or differentiated fingering to distinguish between the two octaves.

PZ003 ppp – pp

Pizzicato tonguing in this register results in pitches an octave below the written pitch. Articulation beyond the G3 fingering yields more percussive attack than pitch content. These pitches may still be usable in an amplified setting.

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Key Clicks

Key clicks on the piccolo work best on low register fingerings where a majority of the keys are closed, and one can maximize the resonating length of the tube. Experimenting with a snap and release method of execution can prove beneficial: the release of the fingers (snapping the keys closed but allowing the fingers to bounce back, opening the keys again) increases the resonance and amplification of the key click on some instruments. Additionally, while it is common practice to finger the given pitch but only click the G key (left hand 3) on the C-flute, I find that where possible, clicking all the fingers used in the given fingering can also increase amplification and resonance on the piccolo, where the size of the tube otherwise limits these factors.

Notation of Key Clicks

The standard notation of key clicks features an “x” instead of a note head applied to the rhythmic notation. This “x” note head is placed on the staff as would be a regular note head, to indicate the pitch or fingering that should be used when executing the click in that particular musical circumstance.

Alternatively, a “+” above the note may be used. The designated indication should be included in an accompanying glossary of terms and symbols.

Figure 17. Martin Bresnick, High Art – key click Notation Figure 18. Roger Reynolds, Mosaic – key click notation

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Tongue Ram

The tongue ram is a highly effective technique on the C flute, and especially so on the larger alto and bass flutes which have the bore size and tube length to facilitate a very resonant sound. The piccolo is not so generously equipped in these areas, however a precisely timed tongue ram on the littlest flute can still deliver a satisfying pop!

Tongue rams result in a pitch which is one seventh lower than the written note and are most effective on low register fingering. To create the tongue ram, close the embouchure hole with the lips

(as in a jet whistle), begin to blow a stream of air, and then firmly plant or “ram” the tongue onto the embouchure hole with as much force as possible, sealing it completely. This will create the loud percussive sound. Gradually you will be able to decrease the amount of air preceding the actual action of the tongue ram so that only the percussive sound – without any air – is audible.

Notation of Tongue Ram

There is no standardized notation for the tongue ram at this time. Some composers choose to use “TR” over the designated pitches, other composers choose a simple “T”. There is the option of using alternative note heads as well. No matter which notation the composer chooses, he or she should always include an explanation in a glossary so that there is no confusion for the performer.

In the following example from High Art, composer Martin Bresnick indicates the fingered pitch with an “x” note head, the sounding pitch with a regular note head in brackets, and the “(+)” above the pitch to indicate that the player should use a tongue ram articulation.

Figure 19. Martin Bresnick, High Art – tongue ram notation

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Tongue rams in this pitch range works well. D2 an Eb2 have less audible pitch content than percussive attack, due to the B key (LH1) being open.

TR002 p – mp

Tongue rams in this pitch range sound one octave plus a seventh lower than written, due to the lack of an octave key or differentiated fingering to distinguish between the two octaves.

TR003 pp – p

Tongue rams in this pitch range sound one octave plus a fifth lower than written. Depending on the player and technique used, the exact sounding pitch may be difficult to discern.

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Beatboxing

As with many of the percussive techniques in this manual, the effect of beatboxing on the piccolo is limited due to the narrow bore and short length of the instrument which limits the natural resonance and amplification. A composer wishing to write beat boxing effects for piccolo should consider amplifying the instrument through electronic means.

This author recommends that any player wishing to learn to beatbox acquire Tillman Dehnhard’s book The New Flute and avail of Greg Patillo’s instructional videos on YouTube.111

Notation of Beatboxing

Flutist-Composers Tillman Dehnhard and Greg Patillo have standardized the notation of beatboxing on the flute. Such techniques should be notated using the “x” note head accompanied by the appropriate letter either above or below the note, which will indicate which sound is required.

Figure 20. Greg Patillo, Inspector Gadget – Beatboxing notation

111 Greg Patillo’s YouTube channel is available at: https://www.youtube.com/user/freedomworksfilms.

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MULTIPHONICS

Multiple sounds being played simultaneously are called multiphonics. They are created through a combination of adjustments to the embouchure and special fingerings which then cause two or three different pitches to sound at the same time. Multiphonics can be created on all of the flutes, however the closed keys of the piccolo, alto, and bass flutes make this process more challenging.” Still, there is a long list of multiphonics which are viable on piccolo. This fingering chart will explain the stability of the particular multiphonic (that is, how easy it is to play) and its possible dynamic range. Other notes specific to a particular multiphonic are included where appropriate.

When writing multiphonics or multiphonic trills, the composer should always provide a fingering diagram either directly in the music above the note to which it applies, or in a glossary or legend.

Composers should be sure to test their chosen multiphonic to be certain that the fingering they have chosen will provide the sound they desire and is indeed able to be produced in the circumstances of the music (including the written dynamics and approach / departure points). This manual and the recordings available online will be helpful in discerning these important details.

Composers must also consider that only most stable multiphonics will be reliable for less experienced piccolo players. To this end, each multiphonic has been graded for its stability, and notes regarding the dynamic possibilities are also included. One can generally assume that multiphonics in which the intervals are small can be played at softer dynamics, whereas larger intervals between pitches will typically require a stronger air stream and thus often necessitate a louder dynamic. Detailed notes surrounding dynamic range of each multiphonic are included. In instances where there are concerns regarding the approach or departure from a particular multiphonic, or there are other performance related concerns, the author has included a set of notes to explain the situation. The online resource

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which accompanies this manual will be regularly updated with new information. Composers and performers are encouraged to consult that resource for the most up to date information on all extended techniques relating to the piccolo.

Multiphonics can be achieved through a variety of means, including variation of air speed and embouchure, or through the use of a modified fingering.

Overblowing:

Among the most basic of multiphonics to execute is that of multiple octaves or multiphonics on the harmonic series. This can be achieved by opening the embouchure vertically and overblowing the on fundamental pitch fingering. The dynamic range of these multiphonics is generally louder, depending on the range or tessitura of pitches. A high tessitura or larger range of pitches will require a louder dynamic. As with most extended techniques on piccolo, the available pitches may vary from one instrument to another.

Underblowing:

Not blowing enough air on certain pitches can also enable multiple pitches to sound simultaneously.

These types of multiphonics start on the D3 fingering and offer a wide range of pitch content depending on the player and instrument. Soft dynamics offer multiphonics with diffuse tone quality whereas louder dynamics enable a fuller tone. A relaxed, loose embouchure is needed to use this range of multiphonic sounds.

Special fingerings:

The Boehm key system enables a plethora of multiphonics through the use of half holes or quarter holes

(through partial covering of open hole keys) and cross fingerings. The Kingma quarter tone system flute was designed especially for this purpose, with its additional open holes and key-on-key structure

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enabling chromatic movement between some multiphonic fingerings. Unfortunately, the standard

Boehm piccolo does not possess open holes and it is too small to host a microtonal key system, thus forcing players to produce multiphonics by relying on embouchure and air adjustments in combination with special fingerings.

Every multiphonic, whether created by overblowing, underblowing, or a particular fingering combination, will require a unique recipe of air speed and embouchure position. Flutist-composers

Robert Dick and Tillman Dehnhard both recommend using throat tuning to stabilize the lowest pitch of the multiphonic and create an acoustic condition in your throat that is most conducive to sounding both pitches. Throat tuning, in combination with adjusting the embouchure and altering the air speed, is suggested by both authors as one of the most successful ways to play and stabilize multiphonics.112

Notation of Multiphonics

Multiphonics are typically notated as chords on a single stem, however it is important that the composer also include a preferred fingering (ideally listed above the multiphonic in question, but alternatively listed in a glossary) as occasionally there may be several fingering options which produce the same pitches with only minute differences.

Figure 21. James Dillon, Diffraction – multiphonic notation

112 For more on throat tuning, see Robert Dick’s Tone Development Through Extended Techniques (page 9-13) or his YouTube video series: https://youtu.be/FCxXc5p96YA.

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Fingering Chart

Descriptors used: Regarding the pitch of a note • “Slightly flat / sharp” – between the official designations of quarter-tone and semi-tone

Regarding the height of the aperture

• “Narrow” – a very flute aperture with the lips nearly closed • “Normal” – a normal aperture • “Moderately Wide” – where the lips are slightly more open or separated than normal • “Wide” – where the lips are very open and much more separated than normal so as to enable both low and high directions of air stream.

MP001 pp – ff

D1 is typically slightly flat.

Pxasdghj Stability: 1 MP002 f +

A very wide aperture is required to stabilize all pitches. Pasdghjx Stability: 2 MP003 ff +

D3 may be slightly sharp.

Pasdghjx Stability: 3 MP004 p – f

D#1 is typically slightly flat.

Pxasdghjk Stability: 2 MP005 ff +

A very wide aperture is required to stabilize all pitches. Aim the air high – focus on the Bb2. Pxasdghjk Stability: 2

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MP006 ff + A wide aperture and very fast air speed is required to stabilize all pitches. Aim the air as if you are blowing between the Eb2 and Bb2. Pxasdghjk Stability: 2 MP007 mp – f

The multiphonic becomes more stable with an increased dynamic.

Pxasdghk Stability: 2 MP008 f +

A stable multiphonic. A wide aperture is required to stabilize all pitches. Aim the air high Pxasdghk – focus on the B2.

Stability: 1 MP009 ff +

A wide aperture and a fast air speed are required to stabilize all pitches. Aim the air high Pxasdghk – focus on the E3.

Stability: 3 MP010 pp – ff

Pxasdgk Stability: 1 MP011 mf +

A fast air stream is required to stabilize all pitches. Aim the air high – focus on the C2. Pxasdgk Stability: 1 MP012 p – f

Using LH2 may cause the pitch to be slightly flat.

Pasdxhk Stability 1

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MP013 f +

A very wide aperture is required to stabilize all pitches. Pxasdjk Stability: 3 MP014 p – ff

Pasdckkjx Stability: 1 MP015 p – ff

Pasdxk Stability: 1 MP016 f +

A fast air speed is required to stabilize all pitches. Aim the air high – focus on the D3. Pxasdk Stability: 3 MP017 mf – ff

G#1 and 2 may sound slightly flat.

PCxasdfhj Stability: 2 MP018 pp – f

Pxasdfk Stability: 1 MP019 pp – mp

The quality of the A is airy and less present than the Eb. It may also sound slightly flat. Pxasdghjk Stability: 2

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MP020 mp – ff

Both A’s may sound slightly flat.

Pxasgk Stability: 1 MP021 p – ff

Pxask Stability: 1 MP022 p – ff

E3 may not speak at softer dynamics. All pitches are generally slightly flat with this fingering, but a softer dynamic is often possible. Pxasgh

Stability: 1 MP023 mp – ff

A1 will be slightly flat. E3 may not speak at softer dynamics. Pxasghk

Stability: 1 MP024 pp – mf

A1 may be slightly sharp; E2 may be slightly flat. A wide aperture is required to have all three pitches speak at the soft dynamics. Pxsdghk

Stability: 2 MP025 pp – mf

Both fingerings produce a ninth in which A1 is slightly sharp and the B2 is slightly flat

Pxadgh

Stability: 1

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MP026 mp – mf

A2 may be slightly flat.

Pzadjk Stability: 2 MP027 mp – mf

Both pitches may be slightly flat.

Pxadgk Stability: 1 MP028 mp

A#1 may be somewhat sharp. Tone quality is quite diffuse. Pxdsgj Stability: 1 MP029 mp – f

A#1 may be somewhat sharp.

Pxsdgk Stability: 2 MP030 mp

Both A#1 and G#2 may sound slightly flat.

Stability: 3 MP031 f – ff Pxadgk By increasing the air speed and opening the aperture vertically, the F3 will sound. Both A1 and G#2 may sound slightly flat.

Stability: 3 MP032 mp – f

In order to stabilize this multiphonic, the air stream must be directed straight across the embouchure hole for the A2, with the bottom lip Pzadhj relaxed so as to allow the Bb1 to speak.

Stability: 3

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MP033 pp – mp Very stable multiphonic. E may be somewhat sharp. Only speaks in the softest dynamics with a very gentle air stream. If forced, this will sound Pcasdxbghk as octave E’s.

Stability: 1 MP034 pp – mp

Very stable multiphonic. F may be somewhat sharp. Pcxdsgk Stability: 1 MP035 mp – ff

Pzak Stability: 1 MP036 mp – ff

Pxagk Stability: 1 MP037 mp – ff

Pxavk Stability: 1 MP038 p – mf

C#2 may be somewhat flat; F2 may be somewhat sharp. Pxdsgk Stability: 2 MP039 pp – mp

Air stream must be aimed high to enable the F2 to speak. Tone quality is quite diffuse. PxsdghjkA Stability: 1

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MP040 pp – mp

Air stream can be aimed quite low while still having both pitches speak.

Stability: 2 Pxasdgbk

MP041 p

Air stream must be aimed high in order for F#2 to speak. Pxsdhj Stability: 2 MP042 p

G2 is somewhat flat.

Pxdsjk Stability: 3 MP043 mp – mf

C#2 will sound at a louder volume than other pitches due to the air speed required to make it speak. Pxdsjk

Stability: 3 MP044 pp – mp

D3 may be somewhat flat. Aperture must be quite wide to enable all three pitches to speak. Lower pitches will be softer than the D3. Pcsdhj

Stability: 3 MP045 pp – mp

Both pitches may be somewhat flat.

Pxasdgbk Stability: 1

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MP046 p – mp

B1 may be somewhat flat.

Pxadhk Stability: 3 MP047 mp – mf

B1 may be somewhat flat, B2 may be somewhat sharp. Pxadhj Stability: 3 MP048 pp – f

Lower pitches may be somewhat flat; B2 may be somewhat sharp. B2 may only speak at the louder dynamic levels due to the air speed Pasdghj required.

Stability: 1 MP049 mp

B1 may be somewhat flat. A wide aperture and fast air stream is required to enable the C#2 to speak. Pxasdbgk

Stability: 2 MP050 p – mf

B1 may be somewhat flat; C#2 may be somewhat sharp. A wide aperture and gentle air stream are required. Pcxsdhk

Stability: 1 MP051 f – ff

B1 may be somewhat flat, F#3 may be somewhat flat. Quite a difficult multiphonic to produce ass the B1 requires a gentler air stream than can Pxadhk sustain the F#3.

Stability: 3

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MP052 ff

B1 may be somewhat flat. B2 may be somewhat sharp. Pxadhj Stability: 2 MP053 p – mp

F# may be somewhat flat

Pxasdbhj Stability: 1 MP054 mp

F# may be slightly sharp.

Pxasdbjhk Stability: 1 MP055 mp

Pxasdbh Stability: 1 MP056 mp

Pxasdbkj Stability: 3 MP057 pp – ff

Pxak Stability: 1 MP058 mp – mf

F# and C# may be slightly sharp.

Pxasdbhjk Stability: 3

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MP059 mp – mf

F# may be slightly sharp.

Pxasdbh Stability: 2 MP060 mp – ff

D may be slightly flat; F# may be slightly sharp.

Pxasdbkj Stability: 2 MP061 mp – ff

OPxsdk Stability: 1 MP063 p – f

F# may be slightly flat.

Pcxasdbjh Stability: 1

MP064 mp – f

Pxdfgshj Stability: 1 MP065 pp – mp

B may be slightly sharp.

Pxasdnjk Stability: 2 MP066 pp – p

Both pitches may be slightly sharp.

Pxasdbj Stability: 3

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MP067 mp – mf

B may be slightly sharp, C may be slightly flat.

Pasdgh Stability: 2 MP068 pp – mf

Lower two pitches may be slightly sharp.

Pxasdbj Stability: 1 MP069 p – mf

B may be slightly sharp; D may be slightly flat.

Pxdfgsk Stability: 1 MP070 pp – ff

B may be slightly sharp.

Pxdfshj Stability: 1

MP071 p – f

B may be slightly sharp.

Pxdfsk Stability: 2 MP072 mf

Pxsdfhjk Stability: 3 MP073 mp – f

Pxdfsk Stability: 1

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MP074 mf

Cb may be slightly flat.

Pasdk Stability: 3 MP075 mp – ff

C may be slightly flat.

Pasdhj Stability: 2 MP076 p – f

C may be slightly sharp.

Pasdgj Stability: 2 MP077 p – f

C may be slightly sharp.

Pasdgk Stability: 2

MP078 mf – ff

Pasdhjk Stability: 2 MP079 p – f

C#2 may be slightly flat.

Pasdh Stability: 1 MP080 mp – f

C#2 is better in tune with this fingering, on some instruments. Pasdj Stability: 1

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MP081 p – f

A very stable multiphonic, functional at the softest and loudest of dynamics. Pxdfgshjk Stability: 1 MP082 ff

C2 may be slightly flat, Gb3 may be slightly higher than quarter-tone flat on some Pasdhj instruments.

Stability: 2 MP083 f – ff

B2 may be slightly flat. An air quality results due to the width of aperture required. Pasdk Stability: 1 MP084 p

C maybe be slightly flat.

Pxdsbhg Stability: 2 MP085 pp – mp

C1 may be slightly flat, G2 may be slightly sharp. A very stable multiphonic when using a gentle Pxasdnk air stream and a moderately wide aperture.

Stability: 1 MP086 mp

C1 may be slightly flat; Bb2 may be slightly sharp.

OPxdgk Stability: 3

MP087 mp

C1 may be slightly flat. A moderately wide aperture is required to allow both pitches to Pxsghjk speak.

Stability: 2

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MP088 mp – mf

Pak Stability: 1 MP089 mp – f

Both pitches may be slightly flat. A moderately wide aperture is required to allow both pitches Pask to speak.

Stability: 2 MP090 mp – ff

C may be flat.

Pxasdbk Stability: 1 MP091 mf

C may be slightly flat; G may be slightly sharp.

Pxasdnk Stability: 3 MP092 mf

C may be slightly flat.

P{xsghjk Stability: 3 MP093 p – ff

C may be slightly flat.

Pxsdbhgk Stability: 2 MP094 mf – ff

C may be slightly flat; E may be slightly sharp.

Pxdghk Stability: 2

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MP095 ff

C may be slightly flat.

Pxsgk Stability: 3 MP096 pp – p

Diffuse sound quality. Aiming the air stream higher will help stabilize the D2.

Psdghj Stability: 2 MP097 pp

Pxsdhjnk Stability: 3

MP098 pp

Diffuse sound quality.

Pxsdgbhk Stability: 2 MP099 mf +

A wide aperture is required to stabilize both pitches. The multiphonic will be more stable at a louder dynamic. Pxsk

Stability: 3 MP100 f +

B may be slightly sharp. A wide aperture is required to stabilize both pitches. Pzdfk Stability: 3 MP101 pp – ff

A wide aperture is required to stabilize both pitches. Pak Stability: 1

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MP102 mp – ff

A wide aperture and fast air stream is required to stabilize both pitches. Play the first trill key by leaning the middle finger onto it. (No need to Pxsdgbhk take an alternate finger position.)

Stability: 3 MP103 mf +

A wide aperture is required to stabilize all pitches. Psdghj Stability: 2 MP104 mf +

A wide aperture is required to stabilize all pitches. D may be slightly sharp. Pxasddfbhk

Stability: 1 MP105 mp

A wide aperture is required to stabilize all pitches. G may be slightly sharp.

Pxasdnk

Stability: 3 MP106 mf +

A very wide aperture is required to stabilize all pitches. D#3 may be slightly flat.

Pxasdnk

Stability: 1 MP107 mf

Pxasdgfbkj Stability: 3

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MP108 pp – ff

C1 may be slightly sharp, Eb3 may be slightly flat.

POsxasdfnhk Stability: 3 MP109 mf

A wide aperture and fast air stream is required to stabilize all pitches.

Pxsk

Stability: 2 MP110 p – mp

A wide aperture is required to stabilize all pitches. Aim the air stream higher – focus on # Pxasdfkjn playing G 2. C1 may be slightly sharp.

Stability: 3 MP111 p – mf

A wide aperture is required to stabilize all pitches. Aim the air stream higher – focus on playing Ab2. C may be slightly sharp. Pxasdfnk

Stability: 3 MP112 pp – f

A wide aperture is required to stabilize all pitches. Both pitches may be slightly sharp. Pxgk Stability: 3 MP113 mf +

A wide aperture is required to stabilize all pitches. C1 may be slightly sharp; Eb3 may be slightly flat. Pxasdfnjk

Stability: 3 MP114 mf +

A wide aperture is required to stabilize all pitches. C1 may be slightly sharp; Eb3 may be slightly flat. Pxasdfnk

Stability: 1

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MP115 mf +

A wide aperture is required to stabilize all pitches. C1 may be slightly sharp.

Pxsdbk

Stability: 1 MP116 mp – mf

A wide aperture and fast air stream is required to stabilize all pitches. B2 may sound closer to Pxadfbk C2 on some instruments.

Stability: 2 MP117 mp +

A wide aperture and fast air stream is required to stabilize all pitches. Play the first trill key by leaning the middle finger onto it. (No need to take an alternate finger position.) Aim the air Pxadghb stream higher – focus on playing C2

Stability: 3 MP118 mp

A wide aperture and fast air stream is required to stabilize both pitches. Play the first trill key with the middle finger. Aim the air stream higher – focus on playing C2. C2 may be slightly Pxadgbj sharp.

Stability: 1 MP119 mf +

A wide aperture is required to stabilize both pitches. A faster air stream enables a more stable multiphonic. D3 may be slightly flat. Pdfsgkx

Stability: 2 MP120 ff

D# may be slightly sharp.

Pxasdfnk Stability: 1

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MP121 p – ff

A wide aperture and fast air stream is required to stabilize both pitches. Play the second trill key by leaning the middle finger onto it. (No need to take an alternate finger position.) Aim the air OPxasghnk stream higher – focus on playing E3.

Stability: 1 MP122 f – ff

A wide aperture and very fast air stream is required to stabilize both pitches. E3 may be slightly high. P{zadfbk

Stability: 2 MP123 mf +

A wide aperture and fast air stream is required to stabilize both pitches. Pxabgk Stability: 2 MP124 mf +

A wide aperture and very fast air stream is required to stabilize both air pitches. Aim the air stream up – focus on the G#3. Pdfshjk Stability: 1 MP125 pp – mp

Very stable multiphonic in the soft dynamics. C#1 may be slightly flat. OPxdsgnk Stability: 1 MP126 mf – f

A fast air stream is required to stabilize both pitches. Aim the air stream down. C# may be slightly flat. OPazbk

Stability: 2

168

MP127 mf +

A wide aperture is necessary to stabilize both pitches. C#1 may be slightly flat; C#2 may be slightly sharp. OPsdjk

Stability: 2 MP128 p +

A fast air stream is required to stabilize both pitches. C#1 may be slightly flat.

Pxsdnk Stability: 1 MP129 p – mp

Both lower pitches may be slightly flat.

Stability: 3 OPxsdnk

MP130 ff

A fast air stream is required to stabilize both pitches. Aim the air high – focus on the G3. C#1 Pvdj may be slightly flat.

Stability: 2 MP131 mf – ff

C#1 and G#3 may be slightly flat; D3 may be slightly sharp. Psdk

Stability: 3 MP132 mf – ff

A very difficult multiphonic. A very wide aperture and a fast air stream is required to P{xagbk stabilize all pitches.

Stability: 3 MP133 p +

Aim the air stream down, using a slower, gentle air speed. Pxasdbgnk

Stability: 2

169

MP134 p – mf

A wide aperture is required to stabilize both pitches. F2 may be slightly sharp. Pxsdgnk Stability: 1 MP135 mp +

Aim the air high – focus on the C2. C2 may be slightly flat. Pzk

Stability: 2 MP136 mp +

Aim the air down – focus on the C2. C2 may be slightly sharp. Pxadbk Stability: 2 MP137 mp – mf

Aim the air down – focus on the C2.

Pxabk Stability: 3 MP138 pp – f

This multiphonic is more difficult to execute at a soft dynamic. Aim the air down – focus on the C#2. C#2 may be slightly flat. Psghk

Stability: 1 MP139 pp – mf

A fast air stream is required to stabilize both pitches. Aim the air down – focus on C#2. Pk Stability: 2 MP140 pp – ff

This fingering is excellent for soft dynamics. The multiphonic becomes more unstable as the speed of air increases/dynamic grows. C#2 may Pasdgbk be slightly sharp.

Stability: 1 / 2

170

MP141 mf – ff

Aim the air down – focus on D3. Play the first trill key with your first finger. Very stable at louder dynamics. Pasdbh

Stability: 1 MP142 mf – ff

Aim the air down - focus on D3. A very stable multiphonic at loud dynamics, will become less stable as the dynamic lessons. Play the first trill Pxdsfgbjk key with your middle finger.

Stability: 1 MP143 pp – ff

This fingering is more stable for softer dynamics. A fast air speed is required to stabilize both pitches. Aim the air high - focus on D3. D3 may Pxsdbk be slightly sharp.

Stability: 1 MP144 mp – ff

A fast air stream is required to stabilize both pitches. Focus on the D3. OPasdbk Stability: 2 MP145 mp – ff

A fast air stream is required to stabilize both pitches. Aim the air down – focus on the D3. Pxsdfbk Stability: 1 MP146 mp – ff

The C# may sound slightly higher on some instruments. Pxsdfnk Stability: 1

171

MP147 p – f

A fast air stream is required to stabilize both pitches. Aim the air stream down – focus on D#3. D#3 may be slightly flat. xsdPfbkj

Stability: 1 MP148 mf – ff

A fast air stream is required to stabilize both pitches. Aim the air down – focus on the Eb3. Spreading the embouchure sideways, flattening the lips together, may increase the stability of this multiphonic. Play the first trill key with your Pxsdfbhk # b first finger. C 1 may be slightly sharp, E 3 may be slightly flat.

Stability: 2 MP149 f +

This is a sensitive multiphonic. The upper note may settle lower than D#3 or overblow to a whistle tone higher than D#3. Careful practice can settle the pitch. A fast air stream is required Pxasgnk to stabilize both pitches. Aim the air high – focus on the D#3.

Stability: 2 MP150 f – ff

Sounds like D natural on bottom. Top D# may be slightly flat.

Pzadnk Stability: 2 MP151 f – ff

A wide aperture and fast air stream are required to stabilize both pitches. Aim the air high – focus on the E3. Play the first trill key by leaning on it Pxsgbh with the middle finger. The C#2 (octave) may also sound. Stability: 3

172

MP152 mp – f

A wide aperture and fast air stream are required to stabilize both pitches. Aim the air high – focus on the E3. Play the first trill key with the middle Pxsgbj finger.

Stability: 2 MP153 f +

A wide aperture and fast air stream are required to stabilize all pitches. Pxsgbhk Stability: 3 MP154 mf – ff

A very difficult multiphonic. A very wide aperture is required to stabilize both pitches. Play the second trill key with the fourth finger. OPxasgnk

Stability: 3 MP155 mf – ff

A wide aperture and fast air stream are required to stabilize all pitches. Play the second trill key with the fourth finger. Pxadgnk

Stability: 2 MP156 f +

A very difficult multiphonic. A very wide aperture and fast air stream are required to Pasdfbj stabilize all pitches

Stability: 3 MP157 mp – mf

A wide aperture is required to stabilize both pitches. Aim the air down – focus on the Db2 The C#2 may be slightly flat. Pxadfghbk

Stability: 3

173

MP158 mf – ff

Aim the air down. Focus on the Db3. Db3 may over blow to the F3. Pxxadgnk Stability: 2 MP159 pp – ff

Aim the air down – focus on the E3. E3 may be slightly flat. Pzadfnk Stability: 1 MP160 mp – ff

A wide aperture and a fast air stream are required to stabilize both pitches. Aim the air down – focus on the Fb3. Play the second trill Pxadghnk key by leaning on it with the middle finger.

Stability: 2 MP161 mf+

Aim the air down – focus on the F3. F3 may be slightly flat. Pxadfgbhk Stability: 1 MP162 f – ff

A wide aperture and a fast air stream are required to stabilize all pitches. Aim the air high – focus on D3. Play the lever key with the first finger. The E key and second trill key can be Pxvadhnk played both with the middle finger, or by the middle and ring fingers respectively.

Stability: 2 MP163 mf

Aim the air as if blowing between the two pitches. C#1 may be slightly sharp; C#2 may be slightly flat. Psdbk

Stability: 1

174

MP164 p– mf

Aim the air high – focus on the C#2. Both pitches may be slightly sharp. Pshbk Stability: 2 MP165 ff

Aim the air up – focus on the D3. C#1 may be slightly sharp. Play the first trill key with the Pxdgbk middle finger. Stability: 2 MP166 f – ff

Aim the air high – focus on the F3. C#1 may be slightly sharp. Play the second t rill key with the middle finger. Pxadgnj

Stability: 3 MP167 f – ff

A very fast air stream is required to stabilize both pitches. Aim the air high – focus on the F#3. Both pitches may be slightly sharp. Pzzadjn

Stability: 1 MP168 pp– ff

A wide aperture and fast air stream are required to stabilize both pitches. Cb1 may be slightly sharp. Pzank

Stability: 1 MP169 mp – f

Aim the air down – focus on the Db1. C2 may be slightly sharp. Pxadgbhk Stability: 2 MP170 mp +

Aim the air down – focus on the Db2.

Psdgbk Stability: 2

175

MP171 mf +

Aim the air as if blowing between the two pitches. D#3 may be slightly flat. Pxdjnk Stability: 2 MP172 mp +

A wide aperture and fast air stream are required to stabilize both pitches. Aim the air high – focus on the E3. Pxadfgn

Stability: 1 MP173 mf +

A wide aperture and fast air stream are required to stabilize both pitches. F3 may be slightly flat. Pzadfbjhk Stability: 2 MP174 pp +

A wide aperture is required to stabilize both pitches. Aim the air high – focus on the A2. Both Pxasdghj pitches may be slightly flat.

Stability: 1 MP175 mf +

A wide aperture and fast air stream are required to stabilize both pitches. Aim the high – focus the C2. D2 may be slightly flat. Pxadnk

Stability: 3 MP176 ff

A very difficult multiphonic: a very wide aperture and fast air stream are required to stabilize all pitches. All pitches may be slightly Pxasdghj flat.

Stability: 3

176

MP177 mf

A wide aperture and fast air stream are required to stabilize both pitches. Play the second trill key by leaning on it with the middle finger. D2 may Psdghnk be slightly flat.

Stability: 2 MP178 pp +

A very stable multiphonic. Aim the air down – focus on the Eb3. D2 may be slightly flat.

Pxsdnk Stability: 1 MP179 mf – ff

A very wide aperture is required to stabilize both pitches. Aim the air high – focus on the Eb3. D2 may be slightly flat; Eb3 may be slightly sharp. Pxsdfnk

Stability: 1 MP180 p +

A wide aperture and very fast air stream are required to stabilize both pitches. Aim the air high – focus on the Gb3. A difficult finger combination: play the second trill key by leaning Pxadhjn on it with the middle finger. D2 may be slightly

flat.

Stability: 1 MP181 ff +

A very difficult multiphonic: a very wide aperture and very fast air stream are required to stabilize both pitches. D2 may be slightly flat and Pxdgnk does not speak easily.

Stability: 3 MP182 ff + A very difficult multiphonic: a very wide aperture and very fast air stream are required to stabilize both pitches. D2 may be slightly flat and Pxgb does not speak easily.

Stability: 3

177

MP183 mp +

A fast air stream is required to stabilize both pitches. Aim the air high – focus on the C#2. C#2 may be slightly sharp. Pdbk

Stability: 2 MP184 mf +

A difficult multiphonic to stabilize. Aim the air high – focus on Db2. Pdgbk Stability: 3 MP185 mp – f

A wide aperture is required to stabilize both pitches. Aim the air high – focus on the Db2. Pasdgnk Stability: 1 MP186 mf – ff

Aim the air high – focus on D3.

IOPxsdghj Stability: 1

MP187 pp – mp

A very stable multiphonic in softer dynamics Aim the air high – focus on the D3. Psdbkh Stability: 1 MP188 mf +

A wide aperture is required to stabilize all pitches. D3 speaks at a louder dynamic than D2 or F#2. F#2 may be slightly flat; D3 may be Pxsdgbnk slightly sharp.

Stability: 3 MP189 mp – ff

Aim the air high – focus on the D3.

Pxadgbnk Stability: 2

178

MP190 p – ff

Aim the air as if blowing between the two pitches – focus on the D#3. D#3 may be slightly sharp. Pzdnk

Stability: 3 MP191 mf – ff

Aim the air as if blowing between the two pitches – focus on the E3. Pxsdbnk Stability: 2 MP192 mf – ff

Aim the air high – focus on the E3. E3 may be slightly flat. Very stable at the mf dynamic. Pxdnk Stability: 1 MP193 mf – f

Aim the air high – focus on the E3. E3 may be slightly flat. Very stable. IPxsdbnk Stability: 1 MP194 mf +

A fast air speed is required to stabilize both pitches. Aim the air down – focus on the E3. A very stable multiphonic with a complex fingering combination. The player will require additional time to move to this position: play the F key Pxsdghbnk with the first finger; the first trill key with the second finger; and the E key and second trill key by leaning with the third finger.

Stability: 1 MP195 mp +

A very stable multiphonic. Play the second trill key by leaning with the middle finger. Pxsghnk Stability: 1

179

MP196 mf +

A wide aperture and a fast air stream are required to stabilize both pitches. E3 may be slightly sharp. Pzadbnk

Stability: 2 MP197 mp +

A very stable multiphonic. Aim the air high – focus on the E3. Play the second trill key by leaning on it with the middle finger. E3 may be Pxaghnk slightly sharp.

Stability: 1 MP198 mf – ff

A wide aperture is required to stabilize both pitches. Aim the air high – focus on the Gb3. Pxadnk Stability: 3 MP199 mp – f

A very stable multiphonic. A fast air stream is required to stabilize both pitches. D2 may be slightly sharp, D#3 may be slightly flat. Psdnk

Stability: 1 MP200 mp – ff

D2 may be slightly sharp, Eb3 may be slightly flat.

Stability: 3 Pxagbnk

MP201 mf +

A wide aperture and fast air stream are required to stabilize both pitches. D2 may be slightly sharp, Eb3 may be slightly flat. Pxdbnk

Stability: 2

180

MP202 mf – ff

A very stable multiphonic. Aim the air high – focus on the Fb3. D2 may be slightly sharp. Pzabnk

Stability: 1 MP203 mf – ff

A very stable multiphonic. Play the first trill key with the middle finger and the second trill key by leaning on it with the fourth finger. D2 may Pxadfghbn be slightly sharp.

Stability: 1 MP204 mp +

A very stable multiphonic. Aim the air up – focus on the F3. Both pitches may be slightly sharp. Pxagnbk Stability: 1 MP205 mf +

A wide aperture and fast air stream are required to stabilize both pitches. Pxdnh Stability: 2 MP206 mf +

A wide aperture and fast air stream are required to stabilize both pitches. Pdshnk Stability: 2 MP207 mp

Aim the air high – focus on D3.

Pxsdbnk Stability: 1

MP208 mf + A wide aperture is required to stabilize both pitches. Play the first trill key with the middle finger, play the second trill key by leaning on it with the fourth finger. Aim the air high – focus Pxaghbn on the E3. Stability: 2

181

MP209 f – ff

A very fast air stream is required to stabilize both pitches. Aim the air high – focus on the B4. This is a very difficult multiphonic and is not recommended for use by composers unless Pzadbnk working with a player who can produce the

pitches reliably.

Stability: 2 MP210 pp – f

A wide aperture is required to stabilize both pitches. Aim the air high – focus on the A#2. Pasdxghjk Stability: 2 MP211 mf – ff

A difficult multiphonic, a wide aperture and fast air speed are required to stabilize all pitches. All pitches may be slightly sharp. Pxsadghjk

Stability: 3 MP212 mf – ff

Aim the air as if blowing between the two pitches – focus on the D#3. Pxsgnk Stability: 1 MP213 pp – mf

Aim the air high – focus on the D3. Both pitches may be slightly flat. Pgnk Stability: 2 MP214 pp – f

A very stable multiphonic particularly for the softer dynamics. Aim the air high – focus on the D3. D#2 may be slightly flat; D3 may be slightly Pasdgbnk sharp.

Stability: 1

182

MP215 p – ff

Not as stable a fingering for soft dynamics as MP200 but will stabilize nicely in the louder dynamic range. Aim the air high- focus on the Pabnk D3. D#2 may be slightly flat; D3 may be slightly sharp. Stability: 2 MP216 p – ff

A fairly stable fingering. Reliable for the softer dynamics. Aim the air high- focus on the D3. D3 may be slightly flat. Psnk

Stability: 1 MP217 mf – ff

A very stable fingering for the louder dynamics. Aim the air high – focus on the D3. D3 may be slightly sharp. Pxbnk

Stability: 1 MP218 mf – ff

A wide aperture and very fast air speed is required to stabilize all pitches. Aim the air high Pzadnhk – focus on F#3.

Stability: 2 MP219 pp – ff

A very stable multiphonic. D#3 will be more present in the soft dynamics and D#2 will be more present in the louder dynamics. D#3 may Pxsdfbnk be slightly sharp.

Stability: 1 MP220 mp – f

A fairly stable multiphonic. A wide aperture and fast air stream are required to stabilize both pitches. Aim the air high – focus on Eb3. Eb3 may Pxsdghjk be slightly flat.

Stability: 2

183

MP221 ff +

A wide aperture and very fast air speed is required to stabilize all pitches. Aim the air high Pxasdghjk – focus on the Eb3.

Stability: 3 MP222 p +

A wide aperture and fast air stream are required to stabilize both pitches. Aim the air down – Pzabnk focus on the F3. F3 may be slightly flat.

Stability: 1 MP223 pp – f

Aim the air high – focus on the C2. All pitches may be slightly flat. Pxsdghk Stability: 1 MP224 mf – ff

A wide aperture and fast air stream is required to stabilize all pitches. Aim the air high – focus on the E3. Play the first trill key by leaning on it Pxasdghbk with the middle finger. E3 may be slightly flat.

Stability: 2 MP225 p – mf

Aim the air high – focus on the B2. B2 may be slightly flat. Pxasdghk Stability: 1 MP226 ff +

A wide aperture and fast air speed are required to stabilize all pitches. Aim the air high – as if Pxasdghk blowing between the B2 and E3.

Stability: 3

184

MP227 mp - f

Aim the air high – focus on the C#2. Play the first trill key by leaning on it with the middle finger. C#2 may be slightly flat. Pxsdgbhk

Stability: 2 MP228 mf - f

This is a difficult multiphonic. A very wide aperture and very fast air stream are required to stabilize both pitches. B2 may be slightly flat. Pxasdgh

Stability: 3 MP229 mp – mf

Aim the air high – focus on the E3. E3 may be slightly flat. Pxsdghnk Stability: 2 MP230 mf – f

The player will require additional time to move to this position: play the F key with the first finger; the first trill key by leaning on it with the middle finger whilst playing the E-key; the second trill key should be played with the fourth Pxsdghbnk finger. E3 may be slightly flat; E2 may be slightly sharp.

Stability: 2 MP231 pp – ff

A wide aperture is required to stabilize both pitches. Aim the air high – focus on the C2. C2 Pxasdgk may be slightly flat.

Stability: 1 MP232 mp – f

Aim the air as if blowing between the two pitches – focus on the C2. Pxsdgj Stability: 2

185

MP233 f +

A very fast air speed is required to stabilize all pitches. Aim the air high – as if blowing between Pxasdgk the C2 and F3.

Stability: 2 MP234 pp – f

Aim the air as if blowing between the two pitches – focus on the C2. Psdxjkg Stability: 1 MP235 mp – mf

Aim the air high – focus on the C#2. This fingering will overblow to include an F#3. A wide aperture and very fast air stream will be Pxasdgnk required to achieve all three pitches.

Stability: 2 MP236 mf

A fast air speed is required to stabilize both pitches. Aim the air high – focus on the D3. Pxsdgnk Stability: 2 MP237 mf +

A very difficult multiphonic. A wide aperture and fast air speed are required to stabilize all pitches. C2 may be slightly flat. Pasdxg

Stability: 3 MP238 mp – mf

Aim the air high – focus on the C#2. F2 may be slightly sharp; C#2 may be slightly flat. Pxsdg Stability: 2 MP239 mp – f

Aim the air high – focus on the C#2. Play the first trill key with the middle finger. F2 may be Pxasdgbkkj slightly sharp; C#2 may be slightly flat. Stability: 2

186

MP240 mf +

Aim the air high – focus on the D3. Play the first trill key with the middle finger and the second trill key with the fourth finger. F2 may be slightly Pxasdgbnk sharp; D3 may be slightly flat.

Stability: 1 MP241 mp +

A wide aperture is required to stabilize both pitches. Aim the air high – focus on the D3. F#2 may be slightly flat. Pasdxbjh

Stability: 2 MP242 mp – mf

A wide aperture and fast air speed is required to stabilize both pitches. C#2 may be slightly flat. Pasdxhk Stability: 1 MP243 pp – f

A wide aperture and fast air speed is required to stabilize both pitches. C#2 may be slightly sharp. Pasdxbk Stability: 3 MP244 mf +

A stable multiphonic. A fast air speed is required to stabilize both pitches. Aim the air high – focus Pxasdjk on blowing between the F#2 and C#2.

Stability: 1 MP245 mp +

Aim the air high – focus on the C#2. Both pitches may be slightly sharp. Pxsadbjhk Stability: 2 MP246 f – ff

A very difficult multiphonic which is hard to stabilize even when using a wide aperture and # # P)xasdhk fast air speed. C 2 and F 3 may be slightly flat. Stability: 3

187

MP247 pp – ff

This fingering may produce a slightly more stable multiphonic than MP217. A wide aperture and fast air speed are required to stabilize all pitches. C#2 may be slightly flat; F#3 may be Pasdxkj slightly sharp.

Stability: 3 MP248 mp - f

A wide aperture is required to stabilize both pitches. Aim the air high – focus on the C#2. F#2 may be slightly sharp. Pxasdbh

Stability: 2 MP249 mf +

A fast air speed is required to stabilize both pitches. Aim the air high – focus on the D3. D3 Pxasdjk may be slightly flat.

Stability: 2 MP250 f +

A wide aperture and fast air speed is required to stabilize all pitches. Aim the air high – focus on Pxasdjk the D3. Stability: 3 MP251 mf

Aim the hair high – focus on the Db3.

Pxasdbk Stability: 3

MP252 mp +

D3 may be slightly flat.

Pxasdk Stability: 2

188

MP253 mf – f

This multiphonic works well at louder dynamics. A fast air speed is required to stabilize both pitches. Aim the air down – focus on the Eb3. Pxasdfghk

Stability: 2 MP254 mp – f

A wide aperture and a very fast air speed are required to stabilize all pitches. Both upper pitches may be slightly flat. Pxasdk

Stability: 3 MP255 mf +

Aim the air high – focus on the D3. G2 may be slightly sharp. Pxasdnk Stability: 2 MP256 mf – ff

Aim the air high – focus on the D3. G#2 may be slightly flat; D3 maybe slightly sharp. Pxasdfjk Stability: 2 MP257 mp – ff

A very fast air speed is required to stabilize both pitches. Pasdfhjx Stability: 2 MP258 mp – ff

A wide aperture and fast air speed is required to stabilize all pitches. G#2 and F3 speak more clearly than C2. Pxadgk

Stability: 3 MP259 pp – mf

Pxasdfk Stability: 1

189

MP260 f +

D3 may be slightly sharp.

Pasdghjxxx Stability: 3 MP261 p – mf

A fast air speed is required to stabilize both pitches. Aim the air high – focus on the Eb3. Pxask Stability: 3 MP262 mf +

A wide aperture and a fast air speed are required to stabilize both pitches.

Pxadgk Stability: 1 MP263 mp – f

A fast air speed is required to stabilize both pitches. Aim the air high – focus on the F#3. Pzadhk Stability: 2 MP264 p – ff

A fast air speed is required to stabilize both pitches. Aim the air high – focus on the F#3. F#3 Pzadjk may be slightly flat.

Stability: 2 MP265 f – ff

A wide aperture and fast air speed are required to stabilize both pitches. Aim the air high – focus Pzafgdk on the F3. A2 may be slightly sharp.

Stability: 3 MP266 mp – f

A fast air speed is required to stabilize both pitches. Aim the air high – focus on the. Eb3. Eb3 Pzadk may be slightly sharp. Stability: 3

190

MP267 mf – f

A fairly stable multiphonic for louder dynamics. Aim the air high – focus on the Eb3. A#2 may be Pxasnk slightly flat.

Stability: 2 MP268 mf – ff

A fast air speed is required to stabilize both pitches. Aim the air high – focus on the E3. A#2 Pzadfk may be slightly flat; E3 may be slightly sharp.

Stability: 2 MP269 ff +

Aim the air as if blowing between the notes.

Pxasdghjk Stability: 1 MP270 f

A wide aperture and a fast air speed are required to stabilize both pitches. Aim the air Pxagk high – focus on the F3. F3 may be slightly sharp.

Stability: 2 MP271 mp – ff

A fast air speed is required to stabilize both pitches. Aim the air high – focus on the A3. Bb2 Pxsgk may be slightly sharp.

Stability: 2 MP272 mf +

A fast air speed is required to stabilize both pitches. Aim the air high – focus on the E3. Bb2 Pxsk may be slightly sharp.

Stability: 2 MP273 f – ff

A wide aperture and a fast air speed are required to stabilize both pitches. F#3 may be Pxadhk slightly flat. Stability: 3

191

MP274 mf – f

A wide aperture and a fast air speed are required to stabilize both pitches. Aim the air Pxadghjk high – focus on the Eb3. B2 may be slightly flat.

Stability: 3 MP275 mp – ff

A wide aperture and a fast air speed are required to stabilize both pitches. Both pitches Pasxdghk maybe slightly flat.

Stability: 2 MP276 mf +

A fast air speed is required to stabilize both pitches. Aim the air high – focus on the Fb3. B2 Pxadghk may be slightly flat.

Stability: 2 MP277 mf +ß

A wide aperture and a fast air speed are required to stabilize both pitches. B2 may be Pasdk slightly flat.

Stability: 2 MP278 pp – mp

A wide aperture is required to stabilize both pitches. Pzadbk Stability: 1 MP279 f – ff

A very difficult multiphonic. A fast air speed is required to stabilize both pitches. Pxdfgj Stability: 3 MP280 mf – ff

Aim the air high – focus on the Gb3. B2 may be slightly sharp. Pxadhj Stability: 2

192

MP281 mf – ff

A fast air speed is required to stabilize both pitches. Aim the air high – focus on the E3. E3 Pzadfbk may be slightly sharp.

Stability: 2 MP283 f – ff

A fast air speed is required to stabilize both pitches. Aim the air high – focus on the F3. F3 Pzabk may be slightly flat.

Stability: 2 MP284 f – ff

A wide aperture and fast air speed is required to stabilize both pitches. Aim the air high – focus Pxagbk on the F3.

Stability: 3 MP285 mp – f

A fast air speed is required to stabilize both pitches. Aim the air as if blowing between the Psdghj notes. Focus on the D3.

Stability: 2 MP286 mp – ff

A fast air speed is required to stabilize both pitches. Aim the air as if blowing between the sdkP notes. Focus on the D3.

Stability: 2 MP287 p - mf

A difficult multiphonic. A fast air speed is required to stabilize both pitches. Paxdnk Stability: 3 MP288 f – ff

A difficult multiphonic. A fast air speed is required to stabilize both pitches. Aim the air Pxadgjk high – focus on the F3. Stability: 2

193

MP289 mf +

A fast air speed is required to stabilize both pitches. Aim the air high – focus on the F3. F3 Pxghk may be slightly sharp.

Stability: 2 MP290 mf +

A stable multiphonic. A fast air speed is required to stabilize both pitches. Aim the air high – focus Pxasdgk on blowing between the C2 and F3.

Stability: 1 MP291 mf – f

A fast air speed is required to stabilize both pitches. Aim the air high – focus on the Gb3. Pasdjh Stability: 1 MP292 mf – f

A difficult multiphonic. A wide aperture and a fast air speed is required to stabilize both Pak pitches. Aim the air high – focus on the Gb3.

Stability: 3 MP293 mf – ff

A difficult multiphonic. A fast air speed is required to stabilize both pitches. Aim the air Pad high – focus on the G3. G3 may be slightly sharp.

Stability: 3 MP294 mf – ff

A difficult multiphonic. A fast air speed is required to stabilize both pitches. Aim the air high – focus on the Gb3. C2 may be slightly Pasdgj sharp.

Stability: 2

194

MP295 f

A fast air speed is required to stabilize both pitches. Aim the air high – focus on the E3. Pxadghb Stability: 3 MP296 f – ff

A difficult multiphonic. A fast air speed is required to stabilize both pitches. Aim the air high – focus on the F#3. F#3 may be slightly Pxadgjb sharp.

Stability: 3 MP297 f

A difficult multiphonic. A fast air speed is required to stabilize both pitches. Bb3 will sound Pzasdgbj more prominently than the other pitches.

Stability: 3 MP298 mf +

A stable multiphonic. Aim the air as if blowing between the notes. Play the first till key by leaning on it with the middle finger, or with the middle finger and the fourth finger on the E key, POxsdghb # if possible. C 2 may be slightly flat.

Stability: 2 MP299 mf – ff

A very difficult multiphonic. A fast air speed is required to stabilize both pitches. Aim the air high – focus on the E3. Play the first trill key by leaning on it with the middle finger, or with the Pxsdghbk middle finger and play the E key with the fourth finger.

Stability: 3 MP300 mf – ff Aim the air as if blowing between the notes. Play the trill key by leaning on it with the middle finger, or with the middle finger and play the E Pxadfghbk key with the fourth finger. Both pitches may be slightly flat. Stability: 2

195

MP301 mf – ff

A very difficult multiphonic. A wide aperture and a fast air speed are required to stabilize both pitches. Aim the air high – focus on the F3. C# Pxsdgk may be flat. High A sounds.

Stability: 3 MP302 mf +

A fast air speed is required to stabilize both pitches. Aim the air down – focus on blowing Pxasdjk between the pitches.

Stability: 3 MP303 mf – ff

A stable multiphonic. Aim the air high – focus on the F3. Pzadgnk Stability: 1 MP304 f +

A powerful multiphonic. A fast air speed is required to stabilize both pitches. C#2 may be Pasdxgnk slightly sharp; F3 may be slightly flat.

Stability: 2 MP305 mf – ff

A very fast air speed is required to stabilize both pitches. Play the first trill key with the middle finger and the second trill key with the fourth Pzasdgbnk finger. D may be slightly sharp.

Stability: 2 MP306 f +

A fast air speed is required to stabilize both pitches. Aim the air high – focus on the F#3. Pxasdjk Stability: 2

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MP307 f +

A fast air speed is required to stabilize both pitches. Play the first trill key with the first Pasdfbjkh finger.

Stability: 2 MP308 ff

A very difficult multiphonic. Aim the air high and focus on the Bb3. Play the first trill key with the first finger and the second trill key with the Pzdbnj middle finger. D#3 may be slightly flat.

Stability: 2 MP309 mf +

A very fast air speed is required to stabilize both pitches. Aim the air high and focus on the F3. Pzasgnk Play the second trill key with the fourth finger.

Stability: 2 MP310 ff

A very fast air speed is required to stabilize both pitches. Aim the air high – focus on the A3. A3 Passadxfgbj may be slightly sharp.

Stability: 3 MP311 ff +

A difficult multiphonic. Aim the air high -focus on the G3. Pxasdghjk

Stability: 3

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Multiphonic Trills

Trilling whilst playing multiple pitches is possible when that trill occurs between multiphonics of similar pitch and fingering pattern. Composers are advised that trills between multiphonics which require a complex change of finger position should be avoided. It is possible to trill with any finger from a given multiphonic, however the resulting sound is often too complex to notate as their function so often depends on the dynamic and speed of the trill. Composers are advised to have a piccolo player test any proposed multiphonic trills they intend to use in composition.

Notation of Multiphonic Trills

The standard notation for trills – above the designated pitch – can be used, but both sets of multiphonics should be notated with straight lines connecting them to clearly define that they are the sounding trill pitches.

The following are a small selection of multiphonic trills which produce reliable and stable pitch combinations.

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Fingering Chart

MPT001 f +

PassadxfgbjD Stability: 1 MPT002 f +

PxaSSsdghjhjk Stability: 1 MPT003 ff

PXXxadgj Stability: 3 MPT004 pp – mf

Lower pitches will only be available in the softer dynamics. PxasdgBbn Stability: 3 MPT005 f +

PxsdGGgk Stability: 1 MPT006 mf +

PxsdjkJ Stability: 1 MPT007 mf +

Aim the air high – focus on the upper pitches.

PxsdSk Stability: 1

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MPT008 f +

PxsdfFk Stability: 1 MPT009 f +

A wide aperture is required to stabilize all pitches. PasDjkd Stability: 3 MPT010 f +

A wide aperture is required to stabilize all pitches. PaAsdghj Stability: 2 MPT011 pp - mf

This multiphonic requires a very gentle air stream. Play the first trill key by leaning on it PxaAsdgbh with the middle finger.

Stability: 2 MPT012 mf +

A wide aperture and fast air stream are required to stabilize both pitches. Play the second trill key PxasdDghnk with the fourth finger.

Stability: 3 MPT013 f +

A wide aperture is required to stabilize both pitches. Aim the air high – focus on the Bb2. PxasdSghjk Stability: 2 MPT014 f +

A very wide aperture and a fast air stream are required to stabilize all pitches. Play the first trill key with the middle finger and the second trill PxasdGbng key with the fourth finger.

Stability: 3

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MPT015 ff

A very wide aperture and a very fast air stream are required to stabilize all pitches. PxasdfghjkS Stability: 3 MPT016 mp – mf

A fast air speed is required to stabilize all pitches. PxsdGgk Stability: 2 MPT017 mf +

PxsdHJhjk Stability: 2 MPT018 p – f

A wide aperture is required to stabilize all pitches. PxsdFfhjk Stability: 2 MPT019 mp +

A wide aperture is required to stabilize all pitches. PxsdfFk Stability: 2 MPT020 mp +

A fast air speed is required to stabilize all pitches. PxsdbjkNn Stability: 1 MPT021 mp +

A very stable multiphonic trill.

PxsdfBkb Stability: 1

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MPT022 mf +

PxsdfbnNk Stability: 1 MPT023 p +

PxdfsDghjk Stability: 2 MPT024 mf +

A very stable multiphonic trill.

PxsjhBb Stability: 1 MPT025 mp – f

A good multiphonic trill however the finger position is difficult for the right hand. Play the first trill key by leaning on it with the middle PxasgbhNn finger; trill the second trill key with the fourth finger.

Stability: 2 MPT026 mp +

A very stable multiphonic trill. Play the first trill key by leaning on it with the middle finger. PxasSgbhk

Stability: 1 MPT027 mp +

A very stable multiphonic trill. Play the second trill key by leaning on it with the middle finger. PxasSghnk Stability: 1

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MPT028 mp – f

A very stable multiphonic trill with an unfortunately challenging finger position. Play PxaSsGHghnk the second trill key with the fourth finger.

Stability: 1 MPT029 mf +

A very stable multiphonic.

PxadGghn Stability: 1 MPT030 mf – f

PXxadgjk Stability: 3 MPT031 mf – f

A fast air speed is required to stabilize all pitches. Aim the air high – focus on the F3 – G3. PXxadgnk Stability: 2 MPT032 f +

A very stable multiphonic trill. Play the second trill key by leaning on it with the middle finger. A fast air speed is required to stabilize all pitches. PadXxnhk Aim the air low – focus on the D1 - Eb1

Stability: 1

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CHAPTER THREE, CONTEMPORARY REPERTOIRE PERFORMANCE GUIDE

This performance guide looks at four major pieces from the contemporary piccolo repertoire:

Lachrymose (2004) by Derek Charke, Diffraction (1984) by James Dillon, Nidi for piccolo solo (1979) by

Franco Donatoni, and Superscriptio (1981) by Brian Ferneyhough. These pieces are representative samples of the scope of the contemporary piccolo repertoire, offering a nearly complete picture of the spectrum of extended techniques, a range of both early and more recent works, and four unique writing styles.

This performance guide will offer a brief historical and biographical look at each composer and provide information which may be useful to the performer during preparation of the piece. Reflections are based on my own learning process and performance and represent only one interpretation of the pieces. To gain the most benefit from this manual’s analytical sections, the reader is encouraged to keep the score at hand for ready reference.

Recordings of performances of these pieces (as well as other major contemporary works from the piccolo repertoire) and the extended techniques used in them are available at www.moderntwig.ca.

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Lachrymose for Solo Piccolo by Derek Charke

Derek Charke is an accomplished Canadian composer, having won JUNO and ECMA awards for his numerous works, many of which are for flute. He is professor of composition at Acadia University in

Wolfville, Nova Scotia and is the co-director of Acadia’s New Music Society. Charke is a talented flutist, performing with the contemporary ensemble SubText and as soloist on the album In Sonorous Falling

Tones, a cd made up entirely of Charke’s compositions.113 Charke has written over eighty works, with twenty-seven of which are for the flute. His music is primarily published and distributed by the Canadian

Music Center, but there are several titles published by American publishing house, Theodore Presser.

Charke describes his style as eclectic and “often defying categorization due to wide-ranging influences. Described as minimalist and post-minimal, modernist and post-modern, inventive, rich textured, full of colour and imbued with drama and rhythmic vitality, his music often incorporates tonality and modality, electronics and soundscapes, explorations of contemporary instrumental techniques and improvisation.”114 Charke’s music is typically highly rhythmical with significant contrasts between themes and patterns. The resulting effect is evocative and engaging for both audiences and players.”115 These themes are evidenced in Charke’s very popular flute quartets and quintets (Raga

Terah, Raga Saat and Raga Nau) and his two flute concertos (The Winds of Winter and In Sonorous

Falling Tones). Charke has an encyclopedic knowledge of extended techniques. In a review of a performance in January 2013, Stephen Pedersen of The Chronicle Herald stated that Charke:

…plays double stops, multiphonics, percussive key taps, whistle tones and an entire appendix of chuffing attacks that excite the instrument to screech in multiphonic arrays with a hollow resonance. He also plays with a full, thick,

113 SubText “Ensemble: Derek Charke.” Subtext – Contemporary Music & Media Arts, 2015. Accessed August 26, 2017. www.subtext.ca.

114 Derek Charke. “Biography.” Derek Charke, composer|flutist. Accessed August 26, 2017. www.charke.com 115 Allan Paulker. “Derek Charke: In Sonorous Falling Tones – Wired Ensemble; Mark Hopkins.” CD Review in The Whole Note, 29 August 2017.

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round tone, the kind they talk about in the old treatises, and with a legato thick as oil. And he does it all effortlessly, with true virtuosity.116

Charke’s piece Lachrymose for solo piccolo (2006) has gained international recognition thanks to performances by flutists at major conventions and concert series across North America. The piece was premiered in Wolfville in February of the year of its composition, by flutist Chenoa Anderson.

Lachrymose has been recorded on two albums: Piccolo Works by flutist Natalie Schwaabe and by Charke himself on the album In Sonorous Falling Tones. Charke’s own program notes highlight some of the pieces, main features:

Part of the work uses proportional notation, allowing the performer room to play with the temporal domains. A consistent arch-like shape is reiterated during the last 2/3rds of the work, a swelling and dying away followed by several seconds of silence. Within this the performer repeats a fast, three-note gesture a random number of times. A sung pitch adds counterpoint to this ostinato figure. Although the material is somewhat minimal several advanced techniques are employed that help ‘fill out’ the sound of the solo piccolo. The most obvious is singing and playing. Added to this the soloist is asked near the end to break the sound and play on harmonics. This creates a rich texture filled with overtones. The entire range of the piccolo is called for, however throughout most of the work the performer plays in the lower tessitura, creating a more earthy sound. Double trills and timbre trills create a warbling, bird like effect in other parts of the work.117

Playing with a focused sound in the low register can be difficult on the piccolo. Extensive work on this range, including long tones, vocalises and études, prior to learning Lachrymose will greatly benefit the execution of the piece in performance. Players must work on focusing the air stream into a direct column moving steeply down into the instrument. Exercises from books such as Niccola

Mazzanti’s The Mazzanti Method Daily Exercises for Piccolo can be helpful in securing a stable and rich

116 Stephen Pederson, “Concert Review: Open waters bit of a rough ride.” The Chronicle Herald. Published January 13, 2013. Last Updated January 14, 2013. http://thechronicleherald.ca/artslife/427542-concert-review-open- waters-bit-of-a-rough-ride. 117 Derek Charke. “Works: Lachrymose.” Derek Charke, composer|flutist. Accessed August 26, 2017. www.charke.com.

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low register – perhaps the most underused but incredibly beautiful qualities the piccolo, in its traditional sonority, has to offer.

General Remarks

Lachrymose has three main areas of thematic material: the opening of the piece features a lamenting cry. This material returns at the end of the piece after the buildup of drama has climaxed. The word

Lachrymose means “tending to cause tears” or “given to tears or weeping” and this can be captured in the opening statement. These intervals of the ascending legato triplets in the first four measures (and their counterparts at measure 91) need to be very smooth. Players will need to practice negotiating these big leaps smoothly. The careful use of vibrato can enhance the sad, somber effect of the opening.

The change of character at measure 7 should be precise and clear, diving into the metronome marking of 112 bpm without hesitation. Even in the mp dynamic the low register should be biting and aggressive sounding. The focused work on low register will be beneficial in this section. The descending runs in measure 10 through 12 start at a difficultly soft dynamic. Long-tone passage work in the third octave is necessary for confidence in execution here. Precision of embouchure and fast air speed with a tiny air stream are required to produce a soft high A. The player might consider using a French style of articulation to help the first note speak: place the tongue between the lips and pull back to release the air. The accelerando should happen organically, picking up momentum in the second grouping of ten.

Players should feel free to use vibrato as an expressive tool, particularly in moments such as measure

23.

Learning Lachrymose – By Technique

Lachrymose uses a variety of extended techniques to create its unique and evocative atmosphere. These techniques come together to create an exciting and invigorating performance when executed correctly.

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Focusing on the accurate production of these techniques will assist in developing a cohesive performance of the piece. Here Lachrymose is broken down by the different types of techniques used throughout.

Timbral Effects

Lachrymose features several moments where the flutist must develop their traditional sound into something wilder and more unruly sounding. Charke even goes so far as to use the directive “Bark!” in measure fourteen. For many of the effects required in Lachrymose, flexibility of embouchure and an experimental approach will benefit the performer. Splitting the low D in measure 13 into multiple octaves requires the performer to widen the aperture so that the single note develops organically into a multiphonic of octave D’s. Practice this effect by starting with a warm but focused low register sound and gradually opening the lips, while increasing air pressure (a big breath will be needed as both these changes will result in an expedited loss of air supply). The opening of the aperture enables air streams of varying angles to cross the edge of the lip plate, which is what produces the different octaves. It is important to focus on the written pitch – the low D – and allow the other octaves to grow out of that one. This application can also be used for the trill on the same note at measure 21, where the higher trill develops out of the lower one, and the aperture opens and lifts to move from low register to middle.

Charke’s instruction to “Bark!” should be taken as literally as possible. Here too, an open aperture is useful in creating an explosive sound, but the performer does need to maintain some control in order to keep the proper octave sounding and with good intonation. These effects can be achieved through experimentation with explosive articulation backed by lots of air. Extensive practice will enable the performer to find the balancing point between pitch, intonation and effect. It is important to bring out this “barking” theme as it appears several times throughout the work. The development of turbulence in the biting and barking theme provides good contrast and is quite effective in performance.

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Double Trills

Double trills are featured in key moments throughout Lachrymose, availing of both right-hand trill keys to create a rippling effect. When playing these sections, practice first without the trill, to find the direction and singing quality of the melody. Once this has been achieved, add in the trills, focusing on keeping the fingers moving rapidly so that the trill sounds like it is rolling smoothly. Charke’s own recording of this piece on the In Sonorous Falling Tones CD has trills which are quite rapid and active, however I prefer that these trills flow naturally, and often a little slower than Charke’s own interpretation, with the direction of the melody.

Singing and Playing

Singing and Playing is the featured effect in Lachrymose and it is one that must be rehearsed with great care to ensure pristine execution in performance. Incorporating singing and playing into your warm up routine is an ideal way to become comfortable and proficient at this technique. Nicola Mazzanti’s

Practice Book for Piccolo offers some good exercises on singing and playing which will warm up both instruments, voice and flute, whilst helping develop independence of the two parts. The sing and play effect starts in measure 48. One of the most difficult parts of executing the voice while playing is to find the correct pitch. The performer will need to practice hearing the fourth lower from the G in measure 48 so that they can enter on the correct pitch when they start to sing. It is often helpful to use another note to find your pitch – either one of the same you are trying to sing, or one you can easily hear an interval from. Additionally, the performer will need to practice beginning to sing while already blowing the instrument and vice versa. Starting the vocal chords vibrating while one is already blowing on the instrument can be challenging. One way of practicing this effect would be to play a long tone and intermittently add vocal tones with at an interval or on the same pitch, simply to practice this technique.

The performer will be required to do this later in Lachrymose.

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In measure 49, the player may want to consider which note – voice or flute – will fade away first. I have had great success with letting the voice be the last thing to fade out to niente. The effect can be very haunting, but it is up to the discretion of the player.

In measures 49 through 90, there are two separate pieces which will need to be practiced: first, the player should work on making the ostinato sections smooth in finger facility, with perfect niente entrances and exits and an organic crescendo/decrescendo throughout. Count the durations as carefully as you can. Setting a metronome to 60 bpm can be of assistance until one is accustomed to the length of time needed for each utterance. Second, practicing singing the correct pitches without the flute helps to ensure that the player knows where to place the pitches and can vibrate the vocal chords even at a soft dynamic. It may be helpful to practice these passages without worrying about the indicated timings – focusing on a smooth, non-disruptive vocal entrance and departure from the ostinato pattern is most important.

Regarding the ostinato patterns: each of these should fade in and out from absolute silence for maximum effect. Practice will be required to control the air speed. Consider playing the final iteration of each ostinato with no sound, just the nearly inaudible clicking of the keys and the visual movement of the fingers. The pattern in measure 58 is best played using the “long B-flat fingering” as this will add increased stability to the balance of the instrument in the hands, which can be disturbed by the rapid finger movements.

Measures 76 through 83 should be practiced first without the voice, working only on the changing finger patterns, as well as securing the harmonics. It is valuable to practice the singing alone as well, and then practice them together slowly. It can be difficult to use the voice in combination with the air pressure required to make this set of harmonics speak. Use a tuner to check your vocal pitch and be aware that the increased pressure to create the high harmonic pitches may change the intonation of your singing voice. The vocal chords will need to stay relaxed while the core muscles and embouchure

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create the air speed and pressure needed for the high harmonics to speak. The performer will need to take several big breaths in preparation for these four measures.

Once the technical facility of the ostinato passages is smooth, consider the expressivity of these four phrases. Breathe deeply into the body, ensuring that all breathes are absolutely silent during the two seconds of rest so that they do not disrupt the affect of the silence between the ostinato sections.

Keep the pacing of this section steady by counting carefully. Use a metronome to help in the initial learning stages when the focus will be on executing the techniques rather than creating the musical ambience.

Lachrymose is a very atmospheric piece. One should not be afraid to take time in the rests enabling the various themes and sections of the work to have space to breathe and settle before moving on to something else. This is particularly true leading up to measure 91 – it will benefit the audience if one allows the sound of the preceding theme to dissipate before moving on to the next notes.

The ending of the piece reflects the opening, with its theme like a despairing cry. The final double trills should be steady and smooth but not disrupting the stillness of the moment. This section is a reprieve from the previous drama of the high harmonics with the voice. The final notes should be played with a minute air stream that keeps continuously pushes forward. This will enable the player to maintain control of the decrescendo.

Listening

Listening to recordings of the piece remains a valuable exercise for any performer. For the purposes of this dissertation, I used Derek Charke’s own recording on “In Sonorous Falling Tones” (Centerdiscs label,

2017) and Natalie Schwaabe’s version from her “Piccolo Works” album (Metier, 2017). Additionally, Dr.

Christine Beard has posted a video of her live performance of Lachrymose, which is available on

YouTube.

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Conclusion

Lachrymose is a sublimely beautiful work for solo piccolo from Canadian composer Derek Charke. The piece is still gaining popularity however it stands as a quality piece for intermediate level players

(graduate students or perhaps even advanced undergraduates) and makes a lovely addition to any recital program. Lachrymose showcases some extended techniques – such as the use of the voice while playing – which are not otherwise often used in the piccolo repertoire. It is a work that is both accessible and evocative, and always a crowd pleaser. Copies of the score can be acquired – for purchase or rental

– through the Canadian Music Center, along with Charke’s other works for flute, flute ensemble and more.

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Diffraction for Solo Piccolo by James Dillon

James Dillon is a highly respected and yet relatively unknown British composer. Dillon is closely associated with the New Complexity movement which includes other big names such as Brian

Ferneyhough, Harrison Birtwistle and Michael Finnissy.118 Writing for The Guardian, journalist Andrew

Clements highlights some of the compositional elements which connect Dillon to other heavyweights in the New Complexity movement: “…complex rhythms and teeming, densely detailed surfaces pack such a direct, expressive impact.”119 Clements also describes Dillon’s musical language as having “…the rigour

[sic] of 20th-century modernism behind it, but it also carries the weight of the musical tradition, and seems fully aware of its debt to the past.”120

New Complexity is a term, often attributed to musicologist Richard Toop and his 1988 article

“The Four Facets of “The New Complexity””, which is applied to composers who seek a “complex multi- layered interplay of evolutionary processes occurring simultaneously within every dimension of the musical material.”121 Christopher Fox asserts that because many of the composers included under this label wrote primarily for acoustic instruments, their scores pushed the “prescriptive capacity” of traditional staff notation to its limits due to the unprecedented level of detail and layering in the composition.122 The movement was supported by the Darmstadt School from 1982-96, likely due to the fact that the school was under the artistic leadership of Brian Ferneyhough at the time. By 1997, composers of the New Complexity movement were scattered around the globe, but their compositional aesthetic continued to be unified. These characteristics included a heavy use of microtones, tuplets of

118 Andrew Clements, “Why is James Dillon a neglected composer in the UK?” The Guardian. 10 May 2006, https://www.theguardian.com/music/2006/may/10/classicalmusicandopera2.

119 Ibid. 120 Ibid. 121 Christopher Fox. “New Complexity,” Oxford Music Dictionary, New Grove Dictionary. 20 January 2001. http://doi-org.myaccess.library.utoronto.ca/10.1093/go/9781561592630.article.51676 122 Richard Toop, “Four Facets of “The New Complexity”,” Contact, No. 32, 1988. 4-50.

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unusual rations often used in multiple layers, and rapid changes of dynamic, articulation or playing technique – even from beat to beat. Richard Taruskin describes the movement saying, “the notational detail was significant, even if the music was not for its intricacy set a benchmark that is never likely to be equaled let alone surpassed.”123 These characteristics can be clearly seen in the work of James Dillon, but in particular his piece Diffraction for solo piccolo.

Born in Glasgow in 1950, James Dillon has elected to remain as far out of the public eye as possible throughout most of his life. As a result of his reclusive tendencies, there is little academic literature about Dillon or his music. The literature that is available is primarily about individual works or their reception, however some details are known about Dillon’s life and career. According to Clements

Dillon was self-taught from a young age and has little to no professional musical training beyond that.124

Dillon’s first experience with contemporary classical music was in the early 1970s after hearing a recording of Webern’s music and finding it rather perplexing.125 Shortly thereafter he moved to London and began seeing performances at the Roundhouse, where Pierre Boulez led the BBC Symphony

Orchestra through programmes of new music. It was through eye-opening concerts such as these, as well as more traditionally programmed events, that James Dillon discovered composers such as

Dowland, Xenakis and Stockhausen. According to Clements, Dillon says “I wasn’t interested in the period the music came from, only in whether it spoke to me.”126

Despite his reclusive nature, Dillon’s work has garnered significant attention in North America, across other parts of Europe and in Asia. The first public performance of Dillon’s music took place in

1978 and since then, over 70% of performances of his music have been abroad. Dillon has held

123 Stuart Paul Duncan. “The Concept of New Complexity: Notation, Interpretation and Analysis, Part I,” (DMA diss., Cornell University, 2010): Abstract. 124 Andrew Clements, “Why is James Dillon a neglected composer in the UK?” The Guardian. 10 May 2006, https://www.theguardian.com/music/2006/may/10/classicalmusicandopera2. 125 Ibid. 126 Ibid.

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fellowships at the Japan Foundation in Tokyo 1996; teaching positions at the Ferienkurse in Darmstadt

(1982-92) and at the Gothenburg Summer Academy in 1991. In 1996 Dillon shared the title of composer- in-residence at the Fondation Royaumont with Brian Ferneyhough. He continued on to teach at

Goldsmiths University of London as well as Birmingham City University. He has been recognized in North

America as an International Distinguished Fellow at New York University and was Professor of

Composition at the University of Minnesota-Minneapolis from 2007 to 2014.127 The vast and comprehensive nature of Dillon’s creative output has led him to receive numerous awards and accolades. He is the recipient of the first prize in the Huddersfield Contemporary Music Festival (1978); the Kranichsteiner Musikpreis at Darmstadt (1982); Classical Musician of the Year from The Sunday

Times (London, 1989); and five separate prizes from the Royal Philharmonic Society over ten years

(1997, 2002, 2005, 2010, 2018). 128

Tom Service states that Dillon’s music is some of the most inventive and thrillingly expressive contemporary music around, and that “convention hasn’t stopped [him] from writing some of the boldest and most expressively extreme orchestral, chamber and theatre works out there.”129 This is especially true of Dillon’s 1984 composition Diffraction for Solo Piccolo, which falls into the New

Complexity category because of its use of complex mathematical relationships within the rhythmic structure, as well as the dense layering of extended techniques (including flutter tonguing, harmonics, multiphonics and microtones).

127 Dan Albertson and Ron Hannah. “James Dillon,” The Living Composer Project, 2000-17. Accessed September 24, 2017. http://composers21.com/compdocs/dillonj.htm.

128 “Professor Emeritus James Dillon wins Fifth Royal Philharmonic Society Music Award,” University of Minnesota. 21 May 2018. Accessed February 15, 2019. https://cla.umn.edu/music/news-events/news/professor-emeritus- james-dillon-wins-fifth-royal-philharmonic-society-music-award 129 Tom Service, “A Guide to James Dillon’s Music.” The Guardian. 4 February 2013. https://www.theguardian.com/music/tomserviceblog/2013/feb/04/contemporary-music-guide-james-dillon.

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Diffraction is one of several works by Dillon based on scientific processes and phenomena. The piece explores the concept of light diffraction: referring to the ability of light waves to bend around an aperture or obstacle. These patterns in light were first made observable in 1801 in the famous two-slit experiment designed by the British physicist Thomas Young.130 The title points directly to this musical reference as does the preface at the top of the score’s glossary. Michael J. Alexander explains:

A complex figuration will ‘bend’ or ‘spread’ as it touches a pre-determined frequency margin – in his case a low piccolo F – with the resultant emanation of an ‘interference spectrum’ This statement not only illustrates that Dillon is interested in the phenomenon of diffraction, but that he understands that diffraction and interference do not always exist as separate phenomena. That is, when diffraction occurs as a result of passing light through two narrow slits, the resultant pattern is an interference pattern within a diffraction pattern. This phenomenon is called ‘double-slit diffraction’.131

Dillon includes “Notes on Performance” as well as a glossary in the score to assist performers in the accurate preparation of the piece. Dillon instructs that sections A, C, E, G, I, K and M – the ‘melodic’ sections of the work – should be prepared at first without rallentando so that “the player absorbs the density of information before the material becomes weakened by the ‘bending’ effect of the rallentando.”132 These melodic phrases are based on complex arrangements of triplets and other rhythmic ratios such as 5:4 and 7:6. This melodic content is rich with pitch bends and microtones. The second melodic section, rehearsal C, features extensive pitch bending which the composer indicates is to be executed through finger control and not by way of embouchure adjustment. This is a difficult request to realize as the bending of pitch through technical means is complicated on the piccolo by the lack of open holes.

130 Simone East. “Science: a model and a metaphor in the work of four British Composers.” (DMA Diss., University of Sydney, 2005), 46. https://ses.library.usyd.edu.au/bitstream/2123/13060/1/east_sm_thesis.pdf.

131 Ibid., 27-28. 132 James Dillon, “Notes on Performance” in Diffraction (Glendale, NY: Edition Peters, 1986).

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Dillon first hints at the musical diffraction of the pitch F at rehearsal letter B –the tone is sustained under the effect of flutter tonguing. This diffraction develops over the course of the piece, becoming longer and more complex at every appearance. At rehearsal letter D, we begin to see this diffraction develop: the player is required to pulsate through the harmonic series while maintaining the flutter tonguing effect. Again, this diffraction becomes more complex as the piece carries on – adding trills and even multi-note tremolos on top of the harmonic structure and flutter sound. In the performance notes, Dillon has instructed that in these sections (B, D, F, H, J, L and N) the F pedal tone is

“reinforced by extension but should paradoxically recede into the background as fluttertonguing [sic], trills, pulses and other strata cause systematic interference.”133

Dillon asks the player to use a variety of vibrato and air effects throughout the piece as well, including smorzato which appears just before rehearsal letter F. Changes from “vibrato molto” to

“natural vibrato” are used throughout and the ability to add a ‘high breath element’ to the piccolo sound and adjust the angle of the instrument on the embouchure (while playing!) is required. Diffraction makes use of microtones at various moments during the piece. Players should refer to Chapter Two of the present dissertation to determine the most beneficial fingerings for their instrument.

Learning Diffraction – The Rhythmic Structure

Diffraction is a rhythmically and mathematically complex work, featuring untraditional time signatures such as 16/8, 14/8 and 11/8 mixed in with time signatures which are more familiar to the player (9/8,

6/8 etc.). In such complex music, taking time to mark the subdivisions will enable the player to more clearly see the relationships between the rhythm and the beat. In this case, eighth-note beats work well however there are some sections, like rehearsal E, where sixteenth-note subdivisions may prove more beneficial

133 Ibid.

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Practicing each section of the work individually followed by grouping like musical material together during practice seems to be the most efficient way of learning music from this New Complexity movement. Sections A, C, E, G, I, K and M feature the rhythmic challenging melodic content. As with any mathematically challenging work, significant time spent studying the score - working with the metronome and determining the mathematical breakdowns of all the rhythmic structures within the metric confines of the tempo and time signature – is the only way to understand the rhythmic relationships of the work.

Rather than trying to assimilate all aspects of the composition at once, breaking the piece down into more palatable ‘layers’ of information will allow for simplified learning stages and enable a more rapid learning process. For the purposes of learning Diffraction, one might approach the piece using the following practice plan:

1. Notes and Rhythms: starting with slow practice through each of the melodic sections with

the goal of learning the notes with rhythmic accuracy, ensuring correct fingerings and

intonation. By using the metronome and having written in the subdivisions (eighth note or

sixteenth note, whichever was most practical) it is possible to practice the notes along with

correct rhythms and mathematical relationships. Listening to various recordings of the piece

(see below) helped greatly in capturing the gestures of the phrases, as well as the overall

spirit of the piece. It is also advisable to learn the microtonal fingerings at this stage when

you have time to process the changes to potentially unfamiliar positions. At this initial stage

one can also begin to process the dynamics in a general way, looking for basic dynamic

structure and phrase shapes.

2. Extended Techniques: after one is confident with the basic rhythmic and melodic content of

the piece, it is a good idea to return to the glossary, ensuring that all of Dillon’s symbols are

understood. It may be beneficial to make practice notes in your score, marking the effects

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which were to be added on top of the normal pitches. Having already become confident

with the notes and rhythmic structure, you will be able to focus on incorporating the various

timbral effects such as opening and closing the aperture, tongue blocking, pitch bends,

flutter tongue etc.

3. Dynamics, Tempo and Phrasing: these three aspects are often incorporated during the initial

learning stages of any piece, however when playing complex new music such as Diffraction,

it can be beneficial to go back – after the notes and rhythms etc. Are learned – to review

these basic structures and ensure that they are all happening when and where they are

supposed to. Recording oneself during practice and listening back, with either a notepad or

a score on hand to make notes for future practice, is beneficial. It is easier to hear and

distinguish all of the different layers when one is simply listening, as opposed to trying to

play and listen critically at the same time.

The “diffraction” of sound featured at rehearsal letters D, F, H, J, L and N is technically simpler than the melodic sections, however finding the pacing of and connections between these sections can be quite challenging. The musical representation of the diffraction phenomenon develops extensively over the course of the piece. There are two variations of this musical content – the simple version whereby the flutist flutter tongues while overblowing the partials of the F pitch, and the more complex iterations where the player is required to perform trills or multi-note tremolos while also overblowing the harmonic series. The simple versions appear at rehearsal letters D and F whilst the remaining

“diffraction” sections (H, J, L and N) feature arrangements of the more elaborate structure of trills and tremolos in combination with the overblowing. Practicing these sections together will assist in tempo maintenance during each return of the material: all diffraction sections are marked at eighth note = 48, and thus should remain uniform throughout the piece despite being disconnected by melodic content.

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Additionally, practicing these sections together will help the player find a sense of the overarching

“hyper-phrase” of the diffraction effect, which spans the length of the piece.

Listening

The only readily available professional recording of Diffraction is Nancy Ruffer’s CD “Multiplicities”, released in 2003 by the Divine Art Recordings Group.134 “Multiplicities” is available on the Naxos Library, iTunes and for purchase through major music retailers. Ruffer is a freelance flutist in London, where she is an associate of the Royal Academy of Music, specializing in contemporary music. She has released three recordings on the Divine Arts record label and is principal flute of MusicProjects/London, Matrix,

Almeida Ensemble and Topologies. In 1984 Ms. Ruffer was awarded the Kranichsteiner Prize for

Performance at Darmstadt.135 My own recordings are available on the accompanying Modern Twig website.136

Breaking Down the Techniques

Diffraction makes use of a variety of extended techniques including multiphonics, pitch bending, flutter tonguing, air effects (smorzato and other vibrato modifications), whistle tones, harmonics, bisbigliando, adjustments to aperture via movement of the instrument. It is imperative for players to consult the glossary for a complete understanding of the markings Dillon uses in the score.

Multiphonics

The multiphonics used in Diffraction are octaves from the harmonic spectrum. These can be performed by using a standard fingering and opening the aperture to heighten the air column, thus facilitating both

134 Divine Art Recording Group, “Multiplicities – Modern Flute Music.” Divine Art Recording Group. Accessed March 20, 2018. https://divineartrecords.com/recording/multiplicities-modern-flute-music/. 135 Divine Art Recording Group, “Nancy Ruffer.” Divine Art Recording Group. Accessed March 20, 2018. https://divineartrecords.com/artist/nancy-ruffer/. 136 For recordings and the online extended techniques manual, please visit www.moderntwig.ca.

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upper and lower octaves of the same pitch. Before rehearsal L, the instruction is to play a harmonic multiphonic on E-flat, while also using a tight embouchure which loosens gradually until the arrival at L.

This is contradictory to the standard production of harmonic multiphonics of opening the aperture. Eb is a resilient pitch however, and the production of the multiphonic remains possible even with the addition of a changing embouchure.

Microtones

A range of microtones is employed in the melodic sections of Diffraction. Dillon uses one quarter-tone sharp, three quarter-tones sharp, and one quarter-tone flat accidentals throughout the piece. These microtones are sometimes used in combination with other effects, such as with flutter tonguing in line three of page two. Use of Chapter Two of this manual will aide in selecting the fingerings which produce the correct pitches on one’s instrument. It is advisable to practice the microtonal sections of the piece using these fingerings extensively so that they become second nature.

Pitch Bending and Glissando

In the Notes on Performance, Dillon indicates that glissandi are meant to be performed using the fingers and not through adjustment of the embouchure or rolling of the instrument. Slow practice of the controlled release and depression of keys is the only way to develop smooth glissandi between pitches.

The lengthiest requirement of glissandi is located at rehearsal C, where the player is required to glissandi from F – G – G# – F#– Eb– D. Such extensive glissando work is uncommon for the piccolo because it is difficult for the instrument’s key structure to facilitate these smooth changes. It is possible to create this effect using the fingers with light enhancement – at the discretion of the performer – from the embouchure.

Bisbigliando

Bisbigliando makes several appearances in Diffraction, the first one happening at the end of the second system on page two. On most instruments, this trill can be achieved by using the normal F sharp

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fingering and trilling the middle right hand finger. The second bisbigliando occurs in the following line where the player is required to use two iterations of C. This can be achieved by using the standard C fingering and then adding right hand fingers 3 and 4 for the second pitch.

All other trills in Diffraction are standard semi-tone or whole-tone trills and are indicated by the trill pitch notated in brackets to next to the main pitch.

Smorzato, Vibrato and Air Effects

Dillon uses smorzato, vibrato and whistle tones throughout Diffraction. Dillon defines smorzato as

“interrupted vibrato, abrupt and jerky and produced by small changes of lip-pressure.137” He also includes in the Notes on Performance the indication of “v.m.” as “vibrato molto”. The vibrato molto appears at the end of page two after rehearsal G, before rehearsal H on page three, and again just after rehearsal K. The smorzato effect makes only three appearances, just before rehearsal F (where it appears in combination with a trill under the molto rallentando instruction) and then again twice at rehearsal I.

A triangle-shaped note head is used to indicate “aeolian sound: pitch with high breath element.”138 This effect is used only briefly: just before rehearsal J, where the tone dissipates to air sound as a result of the turning of the instrument (indicated by the arrows and “U” notation above the staff); and again at the bottom of the same page after rehearsal K. Here the effect is combined with vibrato: the player is meant to start with “vibrato molto” and shift to a natural vibrato over the course of one sixteenth note. In several recordings of this piece, the players stretch out this rhythmic figure to make room for this air / vibrato combination effect.

The final air effect used in Diffraction is smorzato-like pulsation of air on a sustained pitch. Dillon notates this as miniature crescendo and decrescendo under the note, with “quasi pulse” written below.

137 James Dillon, “Notes on Performance” in Diffraction (Glendale, NY: Edition Peters, 1986). 138 Ibid.

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The Notes on Performance state “residual patterns: slight (Morse-like) dynamic undulation; faint signals.”139 This effect is used in the “diffracted” sections at rehearsal letters D, F, H, J, L and N.

Whistle Tones

Whistle tones are called for only at the end of Diffraction, where the turning of the instrument

(indicated again by arrows and the rotating “U” symbol) causes the standard sound of the “diffracted” pitch content to change over to whistle tones. This effect is challenging to execute and is not audible on the recording used in the learning process.

Harmonics

Dillon notates harmonics in a unique way throughout Diffraction. Harmonic sweeps are indicated by circles above the cluster of notes, where as an individual harmonic pitch will be notated by a three- sided, square note head. The Notes on Performance do not indicate that the sounding pitch will be written above the square note head, as seen in the score in line 2 and 4 of page 1, again on line 3 of page 3 (before rehearsal J) and then throughout lines 1 and 3 of page 3. Players should use the fingering indicated by the square note head and overblow to the pitch of the regular note head.

Manipulating the Embouchure & Instrument

The final task for performers of Diffraction is to assimilate a range of instructions relating to the positioning of the embouchure, tongue and instrument itself. Dillon sets out nine symbols which indicate the following adjustments:

139 Ibid.

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Figure 22. James Dillon, Diffraction – “Notes for Performance"

These embouchure modifications result in a variety of changes to the piccolo timbre during the piece. Opening the aperture as wide as possible or having a ‘loose’ embouchure (which can be interpreted as relaxing all the facial muscles such that the embouchure becomes unformed) results in a sound which is airy or diffuse. A closed aperture or tight embouchure increases the amount of audible tension in the sound, giving it a nasal quality, which would be characterized as undesirable under normal circumstances however in this setting functions as an effective colour change. Blocking the aperture with the tongue and lips are the more challenging of Dillon’s required modifications. Both of these techniques cause an interference of the sound and will likely result in an airstream that is somewhat volatile and difficult to control.

In most cases throughout the piece, these adjustments are in combination with other effects such as flutter tonguing, air effects, glissandi, harmonic sweeps and whistle tones. It is recommended that a player master the notes, rhythms and basic extended techniques before applying the various manipulations to embouchure and instrument. Modification of the embouchure or manipulation of the instrument can be practiced using simple long tone or vocalise-type exercises, where the player can focus on incorporating the technique to a single pitch or simple melody. Once comfortable, these modifications can then be assimilated into the other material of Diffraction.

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Conclusion

Through careful study and application of each layer of extended techniques, James Dillon’s Diffraction comes together as an invigorating experience for both the listener and performer. The multi-layered complexity of Diffraction creates an immersive experience for the listener. Dillon’s sophisticated use of a broad palette of timbres, the entire range of the instrument and a variety of extended techniques come together to create an aural environment that is both perplexing and highly expressive. In the words of

Tom Service, “Dillon’s music is fearlessly, relentlessly explorative. To hear it is to confront a volcanic imagination that makes listening an act of thrilling, vertiginous unpredictability.”140

140 Ibid.

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Nidi per Ottavino by Franco Donatoni

Franco Donatoni is one of the avant-garde’s most highly recognizable names. An Italian composer born in 1927, Donatoni attended conservatories in both Bologna and Milan where he studied composition, orchestration and choral music.141 He attended the Accademia di Santa Cecilia in Rome for advanced composition studies before going to the Darmstadt new music summer course in 1954 (‘56, ‘58 and ‘61).

Donatoni is credited with having trained three generations of composers, including the great Finnish composer and conductor, Esa-Pekka Salonen.

According to author Mario Bortolotto, Donatoni does not come from any one school of composition.142 In the 1950s while others were exploring alternative compositional techniques, including electronic music and total serialism, Donatoni was writing in the “comparatively safe neo-classical style, with a strong flavor of Bartok. Up to that point, his training had been conventional, and he had shown no particular sign of the radical he was to become.”143 Donatoni has cited his main influences as Arnold

Schoenberg and Pierre Boulez. He greatly admired Stockhausen, however he states that he kept his distance: “My distance from Stockhausen, despite my admiration, is that he is always perfecting his ego and his music, while I want to destroy both the one and the other.”144 According to Bartolotto however, the impact of Stockhausen is clearly visible in the development of Donatoni’s musical style, which gains a new level of brilliance and virtuosity.

141 Donatoni passed away in 2000 at the age 73. 142 Mario Bartolotto and William C. Holmes, “The New Music in Italy,” The Musical Quarterly 51, no. 1 (January 1965), 75. http://www.jstor.org/stable/740890. 143 Ibid. 144 Ivan Hewett “Franco Donatoni.” The Guardian, August 22, 2000, 01:45 BST. Accessed September 2, 2017. https://www.theguardian.com/news/2000/aug/22/guardianobituaries.

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It wasn’t until the 1960s that Donatoni discovered John Cage and began experimenting with

Cage’s ideas of chance and the “abnegation of the will.” As a result of this influence, much of Donatoni’s writing was subjected to a process of systematic distortion and transformation. This process would eventually become characteristic of his compositional style.145

Ivan Hewett, author of Donatoni’s obituary in The Guardian, described his works as being

“brilliantly inventive,”146 a quality which can be seen in one of Donatoni’s recognizable traits: his penchant for unusual instrumentation and ensemble groupings. Donatoni’s use of atypical instruments are evidenced in the work studied here – Nidi per Ottavino (Nidi for Piccolo) – and other works such as

Refrain (1986) which was written for piccolo, bass clarinet, mandolin, guitar, harp, marimba, viola and double bass, or De Près for female voice, two piccolos and 3 violins.

Performance Guide for Nidi per Ottavino

According to the great piccoloist Jean-Louis Beaumadier, Donatoni’s Nidi has become one of the standard contemporary pieces of the piccolo repertoire.147 A difficult score for the most advanced players, Nidi has been described as being “like some exotic bird singing in the night with an almost atonal song.”148 According to Renaud François, one can characterize the short pieces by their extremely tense virtuosity, an excessive use of grace notes, mordents, turns, trills and extreme contrasts.149 Over the span of the two movements, Donatoni employs almost all the extended technical possibilities on the

145 Ibid. 146 Ibid. 147 Jean-Louis Beaumadier, “Franco Donatoni – Nidi,” Jean-Louis Beaumadier. Accessed November 20, 2017. http://piccolo-beaumadier.com/project/franco-donatoni-nidi. 148 Canfield, David Deboor. “Fanfare”, Divine Art Records. Accessed November 20, 2017. Https://divineartrecords.com/review/10171. 149 “Franco Donatoni (1927-2000) Nidi (1979) deux pieces pour piccolo solo,” Brahms IRCAM. Accessed November 20, 2017. http://brahms.ircam.fr/works/work/8114/.

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instrument, including multiphonics. François also points out that the first two notes are the initials of the composer, D and F, and that three notes, D F and G, form the basis of the piece. Donatoni has highlighted this combination of notes in other works, most notably his work Lumen for sextet

(comprised of piccolo, clarinet, viola, cello, celeste and vibraphone).

Figure 23. Franco Donatoni, Nidi – Opening pitches, the initials of the composer

In the beginning stages of Nidi, it is important to spend time studying the score, marking in important details: an eighth note pulse (wherever it was possible to keep a steady pulse – in some cases the arrangement of the rhythmic structures makes this more difficult than others), which direction the mordents go (up or down); and even deciphering the difficult handwritten notation which can be a challenge to read!

As with other pieces in this performance guide, and with learning contemporary repertoire in general, listening to recordings made by professional flutists who specialize in this genre of music is very valuable in each stage of the learning process. For this dissertation, I used the following recordings:

Jean-Louis Beaumadier’s albums Recital sur les flutes (Caliope lable, 1993) and Mosaïque – Piccolo

Century (Premieres Horizons Disques, 2010); Piccolo Recital by Natalie Schwaabe (Metier label, Divine

Recording Arts Group, 2017); The Ensemble Adapter’s Donatoni, F. – Chamber Works CD, featuring piccoloist Kristjana Helgadóttir (Kairos label, 2014); and Roberto Fabbriciani’s recording of Superscriptio

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on his cd Piccolo XX (1999). There are also several fine recordings of Superscriptio available on YouTube featuring the flutists Matteo Cesari, Jean-Louis Beaumadier, and Roberto Fabbriciani.

During the first stages of learning the piece on the instrument, it is useful to put the metronome on at a very slow tempo. Nidi is written in unmeasured format, so one must rely on the metronomic pulse, which is very clearly noted for each section. Fortunately, both the pitch and rhythmic content of

Nidi are traditional in nature and players will find it relatively straightforward to count, making it easy to feel the pulse and fit Donatoni’s rhythms in the designated tempo. In some instances, a subdivision of sixteenth notes may prove beneficial.

Donatoni provides specific tempo markings throughout Nidi, which should be adhered to as strictly as possible. While seemingly fast, these tempi are quite manageable, and care should be taken to focus on developing a melodic contour, rather than simply trying to execute the technical aspects of the piece as quickly as possible. Following the designated tempi helps to find and develop the character of each section of the work, something which should be a priority for the player when preparing the piece for performance.

As with Diffraction, and later Superscriptio, the learning process for Nidi can be approached in a series of layers. The first layer should of course be notes and rhythms followed by the incorporation of dynamics. Second, developing the character of each section and movement as a whole and ensuring that each section is being performed at the indicated tempo markings. In both the first and second learning stages, focusing on rhythmic groupings is key to success. This is predominant in sections where running sixteenth notes are the prevalent rhythmic structure: the eighth note = 156 section on page 1, the majority of page 2, the first five and last two lines of page 3, and lines 6, 7, 9 and 10 of page 4.

Clearly marking whether the notes should be played in groups of 3 or 2 (or even larger segments such as groups of 5) helped to organize the pulse which in turn makes negotiating fast technical passages easier.

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Again, as in Diffraction (where musical material dictated the sections for practicing) and

Superscriptio (where practicing was divided by the tempo of the measure and then each measures of identical tempo were practiced together), it is beneficial to divide practicing efforts between the musical material of Nidi. The first practice session can focus on tempo maintenance, pitch and rhythmic accuracy, while the second practice session on a given section of the work would focus on gesture, shape and phrasing.

Figure 24. Franco Donatoni, Nidi – ornamentation

Using the Flute to Your Advantage

Practicing any piccolo repertoire on the flute can be beneficial. Playing the flute provides relief for the facial muscles used in the embouchure, which do not have to work as hard on the C-flute as they do on the piccolo. It is also a break for one’s ears, particularly in these contemporary works which use the extreme high register sometimes at quite a loud dynamic level. I do suggest that you alternate between

C-flute and piccolo regularly throughout your practicing rather than learning the piece entirely on the flute and then attempting to transfer directly to the piccolo. Alternating between instruments strengthens your skills on both and assists in avoiding common difficulties. Players will find that the air stream (and the instruments reaction to it) varies greatly from one instrument to the other (for example, playing forte in the low register is typically not done with the same embouchure and air speed that the piccolo low register requires) necessitating a keen familiarity to both instruments. Additionally, piccolo players often avail themselves of different or alternate fingerings – particularly when executing

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some of the high register notes in extreme soft dynamics – that would not be used on the flute. It can be troublesome to try and relearn new fingering patterns if the piece is initially learned on flute. Finally, intonation on piccolo can be quite different from C-flute and staying familiar with your own instrument’s tendencies is always to your benefit.

Learning Nidi – By Technique

Nidi is a highly ornamented work featuring a wide range of extended techniques available on the piccolo. Grace notes, mordents, flutter tonguing and both scalar and disjointed technical flourishes appear in the piece. Donatoni has chosen to use multiphonics in a variety of ways throughout Nidi including combining multiphonics with flutter tonguing and smorzato vibrato. Grace notes and mordents enhance the melodic contour of the piece and, in several sections, provide a dance like feel to the music.

Mordents are featured extensively in the opening of the second movement and should be practiced slowly so that the physical gesture becomes part of the learned finger patterns. It is important to prevent the mordents from disrupting the musical line. Practicing with and without the ornamentation will ensure that neither the rhythm nor phrasing lose their integrity as a result of adding the layer of ornamentation on top.

Figure 25. Franco Donatoni, Nidi – mordents

Donatoni includes small flourishes – groupings of 5-8 notes – throughout the first movement of

Nidi. These flourishes are denoted by a slash mark (which signals that the flourishes are meant to be unmetered and as quickly as possible) and are superimposed on a rest which indicates the duration of

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time which the performer has to play the gesture. These flourishes become longer and more complex as the piece progresses. It is helpful for the performer to break these long gestures down into smaller rhythmical groups (duples, triplets or groups of four) to assist in the execution of the technique.

The most complex of these flourishes appears in the second movement, in the penultimate line of the third page, and then in the seventh line of the fourth page. The third page gestures are difficult because they take the player through the entire range of the instrument and require the more difficult cross fingerings of the third octave. The extended cadenza-like gesture on page four also takes the player through the full range of the instrument, but this time in an arpeggiated pattern. Here the player is free to use rubato to bring out the shape and musical line of the phrase.

Flutter tonguing makes several brief appearances in Nidi. The first is in line 2 of page 3, when the player must flutter on a sixteenth-note passage while incorporating grace notes that are not affected by the flutter technique. To execute this accurately, the flutist will need to become adept at turning the flutter tongue on and off at will, as well as being able to start the flutter tongue without delay at the start of the note and without accenting the first note. This section of flutter tonguing at the end of line 2 is ppp which means these last observations are especially true. Considerable practice of starting the flutter at the same time as releasing the note will be required. This gesture happens again in line four but with a different pitch set.

Nidi also uses several multiphonics in the second movement. Suggested fingerings for the multiphonics used in line 3 of page 4 are as follows (in order of appearance): Pgbn # Pcbnkx Pgbn Psbk

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Suggested fingerings used for line 6 of page 4 are as follows (in order of appearance): Pgbn Pxbnk OPgbn Psbpk Pzdnk Pxsdghbk Pxasdgh Pgbn

For the clusters of two-note multiphonics (also to be played at ff with flutter tonguing) on page

4, alternating between the following simple multiphonic fingerings, in combination with under and overblown multiphonics on standard fingerings, seems to work effectively: Pasdxnkj Pxsdgbh Pasdxgbn

Conclusion

Nidi by Franco Donatoni is one of the jewels of the piccolo’s contemporary repertoire. It highlights a wide range of extended techniques, demonstrates the vast tonal capabilities and captures a unique variety of spirits and characters. Through attention to detail and the pursuit of a musical product rather than a simply technically-accurate delivery, Donatoni’s Nidi comes alive and envelopes the listener in its exotic, contemporary bird song.

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Superscriptio for Solo Piccolo by Brian Ferneyhough

Brian Ferneyhough (b. 1943) is acknowledged as a composer of some of the most complex music of the modern age. Ferneyhough is himself a highly accomplished flutist and therefore is uniquely able to write for the instrument in a way that pushes both instrument and performer to the edges of possibility.

Sophie Cherrier of the Ensemble Intercontemporain describes Ferneyhough as a man "who is what we call a composer of extremes. He knows his music is at the outer limit of possibility, but he wants to push players to the maximum. “150 Ferneyhough has composed six solo works for flutes: Cassandra’s Dream

Song, Unity Capsule and Four Miniatures for solo C-flute, Sisyphus Redux for alto flute, Mnemosyne for bass flute and Superscriptio for piccolo.

Superscriptio is Ferneyhough’s only piece for solo piccolo. A five-minute long contemporary tour de force that challenges even the most accomplished players, Superscriptio is the first piece in a cycle of seven works called Carceri d’Invenzione. From Ferneyhough’s own description, Carceri d’Invenzione is based on the etchings of Roman architect and artist Piranesi. The word carceri is Italian for ‘dungeons’ or ‘prisons’ – a constriction which Ferneyhough, in an interview with musicologist Richard Toop, states

“lies at the basis of all artistic creativity: if the artist isn’t faced with a certain limited situation, he usually doesn’t create.”151 Throughout each of the pieces that make up Carceri d’Invenzione, Ferneyhough imposes strict “prisons” – various musical features that are restrictions on the performer – as a means to impart the full creativity of the piece.

Superscriptio has been described by Ferneyhough and various musicologists as a “totally automatized piece,” whereby the melody is accompanied by one or more imitations of that melody in

150 Nina Perlove, “Transmission, Interpretation, Collaboration—a Performer’s perspective on the language of contemporary music: An interview with Sophie Cherrier.” Perspectives of New Music 36, No. 1 (1998): 7. 151 Richard Toop, “On Superscriptio: An Interview with Brian Ferneyhough, and an Analysis,” Contemporary Music Review, Volume 13, Part 1 (1995): 3.

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different voices. Ferneyhough states: “in a sense, Superscriptio is my reaction to my experience of the computer …through the idea of everything clicking simultaneously into a totally new dimension.”152 It is a difficult piece for both performer and listener, with its incredibly extreme changes of dynamics and register on such a difficult instrument. The piece has a single tempo of 56 to the eighth note but almost every measure has a different, often unconventional, time signature with no discernible unifying pulse.

Even Ferneyhough himself admits that the first page and a half of the piece is cruel.153 He says that

“starting out from a total unity of gesture and material and triggering-situation, each bar is a total unanimity.”154 This description by the composer informs the learning process as well as providing insight into the compositional concepts of Superscriptio.

General Remarks

The density and complexity of the Superscriptio score can be an intimidating and is often a deterring factor for undertaking its performance. The most direct way into a piece of such complexity - with unfamiliar meters and incredibly challenging technical demands - is through detailed analysis of the mathematical relationships between each measure. Superscriptio is not instinctively musical and it can be a challenge to find direction within the changing tempi and rhythmic structures.

During a coaching of Superscriptio in a 2009 masterclass of his own works, Ferneyhough stated that “the opening section is not meant to be ‘musical’ – rather, it is coming to terms with ways of contrapuntal thinking. Later on, the material becomes ‘musical’.”155 In another masterclass at University

152 Ibid., 5. 153 Helen Bledsoe, “Seminar with Brian Ferneyhough 25 March 2009”, Flutin’ High (blog). March 29, 2009. Accessed July 16, 2017. http://bledsoe22.blogspot.ca/2009/03/seminar-with-Brian-Ferneyhough-25-march.html. 154 Richard Toop, “On Superscriptio: An Interview with Brian Ferneyhough, and an Analysis,” Contemporary Music Review, Volume 13, Part 1 (1995): 5. 155 Ibid.

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of California San Diego, Ferneyhough described Superscriptio as “a bouncy little piece.”156 In order to accomplish this effect in performance, one must first take a very practical and academic approach to learning the work.

Ferneyhough has assigned Superscriptio a single tempo – eighth note equal to 56 bpm – which is meant to remain constant throughout the performance. The common practice for determining metronomic markings for all of the irregularly-metered measures is to use the tempo of whole note = 7 bpm. Using this whole note tempo as the starting point, the speed of the other measures – even in the most unbelievable of time signatures – can be determined. Bledsoe comments, “From here we can calculate the length of any measure or individual note through simple mathematics. So if the rhythm cannot be felt as a pulse, one can at least memorize the speed in which it is supposed to happen!”157 For example, to determine the tempo of the third measure, multiply the whole-note speed of 7 bpm and by

32 (the speed of one thirty-second note) and then divided by 3 (because the time signature for this bar is 3/32) at which you arrive at the metronome marking of one sixteenth note equaling 74.67 bpm.

7 x 32 = 224 (speed of one 32nd-note)

224 / 3 = 74.67 (speed of one 16th note)

It is necessary to go through the entire piece and determine the metronome markings for each time signature. Ine Vanoeveren, author of the dissertation “Confined Walls of Unity: The Reciprocal

Relation between Notation and Methodological Analysis in Brian Ferneyhough’s Oeurvre for Flute Solo”, suggests using a coloured pen to write the metronome markings above each measure. Vanoeveren even goes as far as noting that using a red ball point pen is the most visible ink for the majority of concert

156 Ine Vanoeveren, “Confined walls of unity: The reciprocal relation between notation and methodological analysis in Brian Ferneyhough's oeuvre for flute solo.” (DMA Diss., University of California, San Diego, 2016): 50. 157 Helen Bledsoe, “Tips for Complex Rhythms a la Ferneyhough’s Superscriptio.” Flutin’ High (blog). February 18, 2010. Accessed July 16, 2007. http://Bledsoe22.blogspot.ca/2010/02/tips-for-complex-rhythms-la.html.

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lighting.158 Due to the complexity of the rhythmic divisions, some of the tempi will work out to have decimal points. These calculations are specific, and the performer should attempt to find a device which can give metronome tempi even to the decimal point. Vanoeveren recommends the computer program

LogicPro for this purpose.159 Some of the measures in Superscriptio will work out to have impossible slow tempi. Trying to discern an equal division of ten notes over the speed of 35 bpm can seem like an impossible task. The performer can overcome these temporal challenges by multiplying the tempo by two (70 bpm) and dividing the notes of the measure into two different groups: playing groups of five notes over a 70-bpm pulse is much more manageable than fitting ten notes over a single 35 bpm pulse.

Identifying these measures in advance of taking the instrument out is strongly recommended.

I agree with Helen Bledsoe and Ine Vanoeveren that the best way to begin learning Superscriptio is to group the measures by time signature (and therefore by tempo) and then practice each group of measures together. The tempi of each measure of a particular time signature will be the same.

Therefore, if one can train the rhythmic ‘map’ of those measures into their muscle memory, the performer will have greater success in accurately executing each measure as they read the music.

Bledsoe notes that the performer is “not trying to achieve musical continuity yet, this is just an exercise to help relate all the bars with this tempo, and to keep them consistent.”160 It is important to note here that the learning process for such a complex work is so arduous that by the time one is ready to perform such a piece, the score has transformed from the actual notation to a simple guide that prompts and reminds the performer of the details which have been so carefully trained into the body’s own physical memory.

158 Ine Vanoeveren, “Confined walls of unity: The reciprocal relation between notation and methodological analysis in Brian Ferneyhough's oeuvre for flute solo.” (DMA Diss., University of California, San Diego, 2016): 45. 159 Ibid., 44 160 Helen Bledsoe, “Tips for Complex Rhythms a la Ferneyhough’s Superscriptio,” Flutin’ High (blog). February 18, 2010. Accessed July 16, 2017. http://bledsoe22.blogspot.ca/2010/02/tips-for-complex-rhythms-la.html.

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Aside from the challenging rhythmic and metrical aspects of Superscriptio, the performer also has to negotiate Ferneyhough’s use of extreme register in combination with extreme dynamics. Playing pianissimo on the written B6 (as appears in measures 5 and 12) is extremely taxing on the embouchure and result in fatigue or potentially even injury to the player if not approached with planning and preparation. Vanoeveren suggests “to lower the pressure on the lips while practicing, it helps to turn out the piccolo and to point the head upwards.”161 Focusing on the relationships between the dynamics and the legato connections between pitches, in combination with a rigorous warm up or practice routine that keeps the embouchure fit and flexible, can ease the burden of repeatedly producing such a note.

Vanoeveren warns that “focusing on playing pianissimo can undermine the overall continuity and fluency of the piece”162 and so recommends the performer to consider finding a more comfortable dynamic range. In addition to adjusting the dynamics to a more comfortable range, the development of a practice routine which regularly takes the player into the top register of the instrument will generally strengthen the embouchure. In combination with exercises that challenge the nuanced use of the aperture – such as doing crescendo and decrescendos al niente in the upper octaves – one can develop embouchure strength to support playing a challenging work such as Superscriptio.

Listening

There are only a few professional recordings of Superscriptio. For the purposes of this dissertation, I used the following recordings: Jean-Louis Beaumadier’s album Mosaïque – Piccolo Century (Premieres

Horizons Disques, 2010; Brian Ferneyhough – Music for Flute recorded on the Bridge label by Kolbeinn

Bjarnason; Nancy Ruffer’s CD Multiplicities (Divine Art Recordings Group, 2003); and Roberto

Fabbriciani’s recording of Superscriptio on his cd Piccolo XX (1999). There are also several fine recordings

161 Ine Vanoeveren, “Confined walls of unity: The reciprocal relation between notation and methodological analysis in Brian Ferneyhough's oeuvre for flute solo,” (DMA Diss., University of California, San Diego, 2016): 47. 162 Ibid., 49.

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of Superscriptio available on YouTube. These include recordings by Italian contemporary music specialist

Matteo Cesari and the Zurich based flutist-composer Walter Feldmann. Additionally, Dr. John Fonville, recognized contemporary flute specialist, has posted a recording of Superscriptio from his album

Temporal Details on YouTube.163

Putting it All Together

The basic idea of Superscriptio is that of an automatically generated and regenerated series of pitches which, beginning in the extreme upper register of an extremely high instrument, constantly precipitates itself up against the upper limit of that instrument, in a utopian but doomed attempt to transcend its physical possibilities. Subsequently, seeking other registral possibilities, it encounters similar restrictions, some imposed by the instrument and some by the composer. Finally, after a variety of restrictive strategies, the compositional method systematically devours the piccolo's middle register, forcing it to its two outer limits.164

This riveting description of Superscriptio’s overall structure and development, taken from

Richard Toop’s interview with Brian Ferneyhough, offers an organic understanding of how the piece moves from its basic twelve-note row to extreme complexity in mere seconds. In his analysis of

Superscriptio, Toop divides the piece into five different sections: section one is lasts from the opening note to the penultimate measure of page 2; section two takes over and runs until the end of the first line of page 5; Section three is short, running from the second line on page 5 to the middle of the sixth line; followed by Section four which lasts until the final two measures of page 7. Section five is the remainder of the piece. Lois Fitch, author of Brian Ferneyhough a collection of writings about the composer and his work, provides a similar breakdown of the five sections. Notes by Fitch and Toop can

163 John Fonville – Topic, “Superscriptio.” YouTube video, 4:58. November 15, 2014. https://www.youtube.com/watch?v=WXsuauUF80I. 164 Richard Toop, “On Superscriptio: An Interview with Brian Ferneyhough, and an Analysis,” Contemporary Music Review, Volume 13, Part 1 (1995): 7.

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be combined for a thorough understanding of each of the five sections. The sections can be characterized by their main ideas and compositional elements:

Section One: The primary material, a twelve-note row, is established and used in both ascending and descending patterns. Appearing mostly in the upper register, this primary material does cover the full range of the instrument within the first section. Lastly, Ferneyhough employs an embellished bar structure that becomes the basis for future variations.

Section Two: The second section of Superscriptio is highlighted by two ongoing “macro-processes” or key principles, the first being the continuation of primary material from the first section and the second being the contrasting repeated notes which build up a harmonic spectrum in a fixed register.

Section Three: Toop cites only one “surface” process but several “sub” processes: pitches arise from an interlocking series; the dynamic levels are changing rapidly, and the registers are strictly controlled.

Fitch describes this section as being derived from the secondary material of section two, punctuated by frequent rests and being registrally disparate because of the interlocking layers.165

Section Four: This section features four notable elements, as cited by Toop, which draw from previous sections of the work. There are directional figures (from section one), repeated staccato figures (first used in section two), sustained notes and “microtonal ‘inserts’ based on rhythmic ‘negatives’”166 from section three. This is the first time Ferneyhough uses microtones in the piece.

Section Five: The final portion of Superscriptio is comprised of an overarching crescendo from ppp to ffff.

There are five pitch layers which each have their own registers, plus a grace note layer with no register

165 Lois Fitch, Brian Ferneyhough. (Chicago, IL: Intellect, 2014): 256. 166 Richard Toop, “On Superscriptio: An Interview with Brian Ferneyhough, and an Analysis,” Contemporary Music Review, Volume 13, Part 1 (1995): 8.

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restrictions. The middle register is gradually removed leaving only the extreme ends of the low and high registers.

Thoughts and Recommendations

A well-prepared performance of Superscriptio hinges on thorough score study prior to picking up the instrument. This enables the player to have a deep understanding of the work, including recognition and acknowledgment of the five sections and their individual characteristics. Being able to see the individual parts of the piece will aid in the development of a “larger picture” for the eventual performance.

The complexities of Brian Ferneyhough’s compositions, Superscriptio included, are beyond the temporal sensibilities of the listener.167 There are, however, some important features of the piece which can be found and understood by all performers. These features represent some of the core concepts used in the writing of Superscriptio: 1) the very intentional assignment of registers and dynamics to specific series of notes and 2) the importance of mathematical relationships in Ferneyhough’s writing.

The flutist should be aware of the following highlights of Superscriptio while they prepare and perform the work: The twelve-note row appears three times in the first ten measures. The second time is an inversion and the twelfth note of the row is also the first note of the third version; the “harmonic spectrum” which are mentioned by both Toop and Fitch are the secondary pitches which fill in the gaps surrounding the twelve-note row, as used in section two. These secondary pitches, or “inserted secondary materials,” are noted by the marking sempre FFFF.168 The material of section three is highly pointillistic. The pitches come from three series assigned to specific registers, either high middle or low.

In section five, each of the five pitch systems have their own assigned registers

167 Ine Vanoeveren, “Confined walls of unity: The reciprocal relation between notation and methodological analysis in Brian Ferneyhough's oeuvre for flute solo” (DMA Diss., University of California, San Diego, 2016): 42. 168 Ibid., 12.

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It is easy, in such a difficult work, to be overwhelmed by the sheer mass of information on just one page of the material, let alone the eight pages that comprise Superscriptio. By taking time to focus on bigger picture items such as those listed above, the performer can maintain a global view of the work even while studying the minute intricacies of each individual measure.

Conclusion

Superscriptio represents the pinnacle of complexity in contemporary piccolo repertoire. Its dense musical material and sophisticated mathematical relationships set it far apart from other modern works which simply engage extended techniques as vehicle for musical expression. Superscriptio is not for the faint of heart. Considerable time and energy must be put into understanding the composer’s thoughts and concepts behind the work and studying both the micro and macro structures of the piece.

Of his piece, the composer says:

I think that the basic problems or questions which arise from this piece (Superscriptio) are not those of technique as such, but they must set out from an understanding of the techniques. I think my intentions were, on the one hand, to produce a many-levelled, innately rich material - a reasonably interesting piece on the basis of very basic principles. But secondly, I wanted to present an emblematic 'high point', an extreme, in the simple sense of the piccolo being a high instrument, and also through the use of one 'extreme' technique- one from which the rest of this sequence, this long-term investigation of the fixity and freedom of the compositional process in terms of informational density, could emanate, could radiate out.169

To conquer Superscriptio is a major accomplishment for any player.

169 Richard Toop, “On Superscriptio: An Interview with Brian Ferneyhough, and an Analysis,” Contemporary Music Review, Volume 13, Part 1 (1995): 6.

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CONCLUSION

The piccolo’s role has grown and evolved significantly since the early part of the twentieth- century: the smallest of flutes has become a viable solo voice in contemporary music. The piccolo’s contemporary repertoire and employment of extended techniques has increased greatly since the publication of Persichetti’s Parable XII in 1956. The Modern Twig is the first resource to offer players and composers a comprehensive guide to extended techniques on the piccolo. This dissertation contains extensive annotated fingering charts as well as historical background and performances guides to four pieces from the repertoire, all of which will assist aspiring piccolo players and composers in their pursuit of contemporary piccolo practice.

The piccolo is currently positioned to further the scope of sounds in new music of the twenty- first century. This document demonstrates that the piccolo is capable of a range of techniques which empower the instrument to the soloist status of its other woodwind comrades. This dissertation provides: general information on the range of the piccolo, how to produce pitch bends and glissandi; discussion on the use of alternative fingerings; the possibility and effectiveness of aeolian sounds (such as the jet whistle); the practice of singing while playing and vocal glissandi; executing smorzato vibrato; a detailed look at the variety of articulations used for traditional piccolo playing as well as articulated air sounds, ribattimento, flutter tonguing, pizzicato, key clicks, tongue ram, and beat boxing. While these descriptions provide much useful information for performers, the bulk of the material in Chapter Two is comprised of extensive, annotated fingering charts. These fingering charts consist not only of an intuitive diagram of the piccolo’s key-system, but also an indicator of possible dynamic range for the specified fingering, a rating on the stability (or ease) of the fingering (where appropriate, such as the sections on multiphonics and harmonics), and detailed notes on the quality of the timbre or any adjustments to embouchure and air stream required to successfully execute the particular sound. The

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techniques for which these annotated fingering charts are provided include: microtones, microtonal trills and tremolos, bisbigliando, a limited selection of alternative fingerings, whistle tones,170 harmonics,171 multiphonics, harmonic multiphonics, and multiphonic trills. Finally, annotated register charts are used to clarify the variation within a technique as it is used throughout the registers of the instrument. These register charts appear for both pizzicato and tongue ram. Due to the depth and breadth of research on each of these 22 techniques, this document will therefore be of benefit to composers, performers and pedagogues as the status of the piccolo continues to rise.

Considering the findings presented in this document, the commissioning of new works will be a priority in my future work as promoter and performer of contemporary piccolo repertoire. Crucial to the furthering of a contemporary repertoire for piccolo is the pursuit of an instrument which facilitates a greater number of microtonal pitches. A microtonal piccolo will be made a reality only through the collaborative efforts of flute makers, devoted piccolo players, and new music specialists. Furthermore, explorations in “prepared piccolo” – that is, working with additions on or inside the instrument – will continue to increase the breadth of timbres available on the instrument. Any new findings will be documented on The Modern Twig website, www.moderntwig.ca. The Modern Twig will also house an online database for new compositions and recordings.

My hope for The Modern Twig is that composers will have the resources they need to create new works for the piccolo and that more players will feel confident and capable to program these pieces.

170 Fingerings are not provided for this technique as whistle tones use standard piccolo fingerings. Notated pitch ranges are provided, and annotations include comments on embouchure and air stream, stability of the tone and dynamic indicators are included. 171 Fingerings are not provided for this technique as harmonics use standard piccolo fingerings. Notated pitch ranges are provided, and annotations include comments on embouchure and air stream, stability of the tone and dynamic indicators are included.

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Discography

Beaumadier, Louis. “Nidi,” “Superscriptio.” Recorded 1998. Tracks 3 and 4, on Mosaïque – Piccolo Century. Premieres Horizons Disques, 2010, compact disc. Bjarnason, Kolbeinn. “Superscriptio.” Recorded 2002. Track 9 on Brian Ferneyhough – Music for Flute. Bridge Records, Bridge 9120, compact disc. Charke, Derek. “Lachrymose.” Recorded 2017. Track 4 on In Sonorous Falling Tones. Centrediscs, CD 1740, compact disc. Fabricciani, Roberto. “Nidi,” “Superscriptio.” Recorded 1999. Tracks 5, 6 and 7 on Piccolo XX. Arts Music, 47557-2, compact disc. Ruffer, Nancy. “Superscriptio,” “Diffraction.” Recorded 2013. Tracks 1 and 6 on Multiplicities. Metier MSV 28562, compact disc. Schwaabe, Natalie. “Nidi,” “Lachrymose.” Recorded 2017. Tracks 5, 6 and 12 on Piccoloworks. Metier MSV 92063, compact disc.

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APPENDIX A

List of Piccolo Repertoire Commissioned by the National Flute Association

Piccolo Artist Competition

Year Composer Title Instrumentation

2018 Augusta Read Thomas Dawn Birds solo piccolo who also plays crotales

2016 Stephen Hough Paradise piccolo and piano

2014 Michael Gandolfi Two Pieces for Piccolo and Harp piccolo and harp

2011 Jean-Michel Damase For Piccolo piccolo and piano

2009 Paul Schoenfield Psychobird: A Sonatina piccolo and piano

2007 Robert Dick Gravity's Ghost solo piccolo

2004 Katherine Hoover Sketches piccolo and piano

NFA Piccolo Committee Projects

Year Composer Title Instrumentation 1993 John La Montaine Sonata, Op. 61 piccolo and piano

1989 Marylin Bliss Rima piccolo and piano

1989 Thea Musgrave Piccolo Play piccolo and piano