CALIFORNIA STATE UNIVERSITY, NORTHRIDGE Extended Technique and the Modern Flautist: A Comparison of Two Contemporary Works for Flute A thesis in partial fulfillment of the requirements For the degree of Master of Music in Music, Performance By Anna Martone May 2019 Copyright by Anna Martone 2019 ii The Thesis of Anna Martone is approved: ____________________________________ _______________ Professor Heather Clark Date ____________________________________ _______________ Dr. Lawrence Stoffel Date ____________________________________ _______________ Dr. Alexandra Monchick, Chair Date California State University, Northridge iii Dedication This thesis is dedicated to my wonderful family for their immense amount of love and support throughout my time here at CSUN. Without all of you by my side, none of my accomplishments over the past six years would even be possible. I would also like to thank Heather Clark, Sandy Kipp Iles, and Dr. Stoffel for the knowledge and guidance you have bestowed on me throughout my time here. iv Table of Contents Copyright Page ii Signature Page iii Dedication iv Abstract vi Chapter 1: Introduction 1 Chapter 2: Extended Technique in the Practice Room 4 Chapter 3: What is Extended Technique on Flute? 10 Chapter 4: Density 21.5 15 Chapter 5: Common Examples of Extended Technique 17 Chapter 6: “Crystal for flute, alto flute, and piano” 21 Chapter 7: “Charanga for solo flute” 27 Chapter 8: Conclusion 33 Works Cited 35 Appendix E: Recital Program 37 v Abstract Extended Technique and the Modern Flautist: A Comparison of Two Contemporary Works for Flute By Anna Martone Master of Music in Music, Performance This thesis will explore the wide variety of extended technique that is possible in flute repertoire, and how the composer’s background may have an affect on how the vi extended technique is written, expected to be performed, and what is possible in performance by the flautist. Over the last thirty years, flute repertoire has expanded its boundaries of traditional flute technique with the compositional use of extended technique. In addition, the use of extended technique in the practice room furthers a flautist’s physical connection in their playing, and it has completely transformed the repertoire that is being programmed on recitals. On my graduate recital, I performed two pieces that explored vast amounts of extended technique. The pieces I performed are “Charanga for solo flute” by Michael Colquhoun, and “Crystal for flute, alto flute, and piano” by Michael Daugherty. Both of these composers have very different backgrounds as musicians. Through comparing and contrasting these pieces, and through my personal practice and performance of these pieces, I discovered there is a difference in how these composers approached extended techniques on the flute. In addition, I will discuss how extended technique has become an essential tool for the professional flautist, especially since the world of flute repertoire has changed. Also, I will show through my own preparation and performance of these pieces, that it is easier to learn and perform pieces by composers who have knowledge of the flute by being flautists themselves. And when composing pieces with extended technique, this knowledge leads to an overall better performance result and an easier preparation process. vii Chapter 1: Introduction Extended technique has transformed flute repertoire and shown that the modern flautist must have knowledge to be able to perform them in the professional world. There have been many contemporary pieces written for flute that include extended technique, but a comparison of two specific works may show that compositions written by a flautist are much easier to learn and perform. In the past, extended technique has often been overlooked by teachers and students, simply because it seemed too difficult or not necessary to take the time to learn, especially since it is outside of the standard flute technique practiced on a daily basis. In reality, these techniques are easy to incorporate into daily practice and can highly benefit some of the other techniques that are often practiced. Flautists often stumble upon basic extended technique without even realizing it is an extended technique. Beginning in the 1980’s flute repertoire has transformed dramatically due to the implementation of extended technique, and it has proven to become a staple technique that must be learned and mastered by any professional flautist. “Charanga for solo flute” composed by Michael Colquhoun and “Crystal for flute, alto flute, and piano” composed by Michael Daugherty both use extended technique as a compositional tool to convey the message and style of these pieces, but how they are composed and how the extended technique is achieved, sheds light on the musical background of these composers and their understanding of the capabilities of the flute. I have chosen to perform two works that are heavily influenced by extended technique on my graduate recital. The pieces are “Charanga for solo flute” by Michael Colquhoun and “Crystal for flute, alto flute, and piano” by Michael Daugherty. Through 1 the preparation of these two pieces, I have discovered the influence that extended technique has had on my practice and overall playing. In addition, since beginning my graduate studies, I have learned that extended technique truly is a necessary tool for a professional flautist. Flute repertoire has changed so much in the last thirty years, and composers are pushing the boundaries of sound and technique on all instruments. The exploration and growth of extended technique has also led to extended technique method books, expansion in other genres of music like jazz, pop, and rock, and has inspired flautists to invent attachments to the flute that expand it’s creativity when composing and playing the flute. Through my preparation of these two pieces for my recital, I noticed how much easier “Charanga for solo flute” was to learn. Although it had more extended technique, Michael Colquhoun is a flautist and may have a better understanding of notation that will get the best response from the flautist interpreting it. On the other hand, Michael Daugherty, who is a pianist, chose to notate and explain the extended techniques he used with briefer descriptions and less symbols. I will provide examples of extended technique to show its necessity and how it is an important tool to have and teach the next generation of flautists. Additionally, I will provide historical background of extended technique on the flute that have been the cornerstones of extended technique in flute repertoire. Through musical examples from “Charanga for solo flute” and “Crystal for flute, alto flute, and piano”, I will compare my learning process of these pieces, what is expected to be played by the flautist, and what was actually achievable based on the notation and notes that Colquhoun and Daugherty provided. Through these examples and an analysis of my learning process, I will compare 2 and describe which pieces were easier to learn and how the composer’s background and approach affected my learning process and performance of these pieces. Overall, showing that in depth knowledge of the flute is crucial when composing flute repertoire that is heavily involved with extended technique. 3 Chapter 2: Extended Technique in the Practice Room Through the development of interest in extended technique in flute repertoire there have also been various method books that have been published to assist the learning process in the practice room. Two of these books that I have used and will discuss are, Practice Books for the Flute: Omnibus Edition Books 1-5 by Trevor Wye and Robert Dick’s The Other Flute: Tone Development through Extended Technique. Both of these books use extended technique as a stepping-stone to improve other areas of traditional flute technique. Some of the extended techniques that they use are whistle tones, harmonics, mulitphonics, and pitch bending. Trevor Wye is a professional flautist, teacher, and author of several flute method books from the United Kingdom. He studied flute privately with Geoffrey Gilbert and Marcel Moyse. Trevor Wye was a freelance orchestral and chamber music musician in London for many years, but most famously, he is the author of Practice Books for the Flute: Omnibus Edition 1-5, which have “received world wide acclaim and have been translated into eleven other languages.”1 Additionally, in 2011, the National Flute Association of the USA awarded him with a Lifetime Achievement Award.2 In Trevor Wye’s tone book, he discusses various techniques and provides exercises to improve all registers and aspects of tone on the flute. One of the sections he includes is about breath control, and within this section of the book, he recommends using whistle tones to create better breath control. Whistle tones are only created when 1 Trevor Wye, Biography, Accessed April 29, 2019. http://www.trevorwye.com/page13a.html. 2 Ibid. 4 “blowing into the flute in a very light and relaxed way.”3 They are easiest to create when fingering notes in the higher register of the flute, and sound like a quiet and light whistle coming from the tone hole. Trevor Wye states, “they are the notes which sound quietly – and often accidentally – at the end of a diminuendo in the low register.”4 He also points out that its ironic how the whistle tone is created because it’s often what flautists are taught how to practice to avoid them in a diminuendo, but here there are intentional. He instructs the reader to “Finger G natural in the low register to find one of these whistle tones and hold it for as long as you can without it ‘jumping’ or wobbling.”5 Although whistle tones are easier to create in the upper register, by applying them to the low register it will help to “control the diaphragm and is equally as good for the lip muscles.”6 Overall, applying this exercise daily will show results in breath control and embouchure flexibility.