Professional Documents
Culture Documents
Abstract
The
Vocal
Flute:
Creative
Uses
of
the
Flutist's
Voice
in
a
Collaborative
Context is a
piece of artistic research that discusses the use of the flutists voice combined with
flute playing, through performer-composer collaboration and through composition.
This thesis focuses on a specific extended technique, consolidated in the 20th century.
The use of the flutists voice is characterized by a richness of possibilities and appears
in the classical repertoire, but also in improvised music: the classical avant-garde,
traditional and new jazz, popular styles.
The aims of the research are to explore the use of the flutist voice combined with flute
playing through collaboration performer-composer and through composition, to
clarify in which way collaboration can help us to understand the use of the flutists
voice and to develop practices that facilitate the learning process of this technique.
My own practice and my collaboration with two different composers are in the center
of the discussion.
As result of the collaborative process, three new pieces were written, performed and
recorded: Floating Embers (for flute and soprano) by Olle Sundstrm, Keep the Night
from Coming In (for solo flute) by Lisa Stenberg and Old Game (for solo flute),
written by me. My own practice, rehearsals and experimentations with composers
inspired me to compose Old Game, an etude for flute and flutists voice.
The findings of the research indicate that great benefits can result from the practice of
new techniques such as using the voice while playing, especially when combined with
creative processes, such as collaboration or composition. The topics that emerged
during the process are: analyses of the uses of the flutists voice while playing
through literature and in each new piece based on the performers practice; patterns in
each collaboration; impact of each collaboration on the development of flute
techniques and flute practices.
The artistic outcomes of this research are three new compositions for flute and
recordings of the same.
Keywords:
flute,
flutists
voice,
extended
flute
techniques,
singing
and
playing,
speaking
and
playing,
collaborative
performance
practice,
artistic
research.
Acknowledgements
ii
Contents
Abstract
Acknowledgements
ii
Contents
iii
1 Introduction
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2. Aspects of collaboration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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3. Methodological approaches
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5. Throat Tuning
6. Reflections
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3 Floating Embers
1. Introduction
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2.3. Third Section: INTENSE
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4.1. Passage from bar 19 to 26: Voice glissando with flute pedal
4.2. Bar 37
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29
31
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4.5. Passage from bar 67 from 72: Flute pedal with moving voice
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33
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36
5.1. Introduction
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1. Introduction
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3.1. Section A
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3.2. Section B
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4. Collaboration
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4.1 Introduction
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5 Old Game
1. Introduction
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5.5. From sh to s: dont speak, dont sing, venture into strange sounds . . . .
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6 Discussion
1. Introduction
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vi
transitions, boundaries, impermanence
2.3. Old Game and the speaking voice
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Reference List
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Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Musical Scores
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CD Recordings
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YouTube Links
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Appendix
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vii
75
76
77
Introduction
The main focus of this research will be a specific extended technique, consolidated in
the 20th century: the use of the voice while playing the flute. This technique is
characterized by a richness of possibilities and appears in many pieces of the classical
repertoire, but also in improvised music: the classical avant-garde, traditional and new
jazz, popular styles.
In the second half of the 20th century the flute became a major vehicle for experimental
composers, resulting in a repertoire that made extensive use of techniques outside the
instruments traditional performance lexicon. In order for composers to write effectively
and idiomatically for the flute, collaboration with performers was often essential.
(Macgregor, 2012, p.3)
Edgard Varse, in 1936, started a new period for the flute repertoire with Density 21.5
(1936).
In just three minutes three centuries of tradition in which the flute was perceived as a
garrulous, pastoral instrument, avowedly its principal distinguishing features from the
seventeenth to the nineteenth centuries, are called into question. In just three minutes a
new instrument is revealed and an unprecedented trend among composers in which the
flute is rapidly raised to the privileged rank of leader in musical creation is set. (Artaud
1994, p. 141142)
Another important work that opened the flute world to different sound perspectives is
Luciano Berios Sequenza 1 (1958). These works were pioneers in Western art music
in introducing extended flute techniques. One interesting point concerning this
research is that none of the two pieces uses the voice of the flutist.
The first major work that confirmed the voice of the flutist as an extended technique
rich in possibilities is Voice by Toro Takemitsu (1971). The title of the piece points to
a new direction where the voice of the flutist has an important role, equal to that of
other effects and techniques. Voice followed the 1970 World Exposition in Osaka,
Japan, where Takemitsu had served as music director along with Stravinsky and
Stockhausen. During this period, Takemitsu became extremely interested in European
experimental techniques. Bruno Bartolozzis handbook New Sounds for Woodwinds
had an influence on Voice. By incorporating the spoken word, Takemitsu displayed
not only new aural possibilities for the flute, but attempted to capture certain gestures
and articulations of traditional Japanese flutes. (Robinson, 2011, p.52)
In Voice, the composer sought to unite the performer with the instrument. The performer
must deliver a spoken text, speak into the instrument, hum, shout, sing, growl, and click
the tongue, blending the voice and the sound of the flute. At other times, Takemitsu sought
to create a distinction between the sound of the voice and the sound of the flute, separating
spoken syllables and traditional flute sounds. This was combined with conventional
extended flute techniques such as key tapping and a wide variety of articulations, in order
to create a wide range of sounds and textures all related to the single source. (Robinson,
2011, p.52)
2. Aspects of collaboration
2.1. Flutists in collaboration
Important partnerships between flutist and composer led to the main solo pieces in the
modern flute repertoire. As examples we have the Italian flutist Severino Gazzelloni,
a major figure in the postwar experimental music scene, and his contributions to the
creation of two works: Sequenza I per flauto solo by Luciano Berio and Mei for solo
flute by Kazuo Fukushima; moreover, the flutist Robert Aitken and his contributions
to the genesis of Ryoanji for flute by John Cage, and Scrivo in Vento for solo flute by
Elliot Carter.
The instruments ability to produce a large and diverse arsenal of sounds not only
expanded its sonic canvas to hitherto uncharted territory but could also evoke the sound
worlds of other musical cultures. What resulted was a prolific repertoire that rejected the
notion of the flute as a vehicle for bucolic whimsy. An instrument that was virtually
ignored in the 19th century (at least in a soloist capacity) was now being embraced by key
musical figures of the 20th century. With a handful of exceptions (most notably Brian
Ferneyhough, who was a flutist in his student years) the development of this repertoire
was, and continues to be, the result of intimate collaborations between composer and
performer. (Macgregor, 2012, p.2)
Macgregor (2012, p.3) details some of the prolific partnerships between flutists and
composers: Salvatore Sciarrino has composed more than a dozen pieces for Roberto
Fabbriciani and Mario Caroli; Karlheinz Stockhausen wrote extensively for the Dutch
flutist Kathinka Pasveer; and Kaija Saariaho continues a fruitful relationship with the
American flutist Camilla Hoitenga. In fact, the author argues that many of these
composers owe much of their international reputations to an early compositional
foundation that significantly featured works for solo flute.
The strength of these pieces, from their employment of extended techniques to the graphic
layouts of the scores, was largely due to dialogue with sympathetic and talented
performers. Macgregor (2012, p.3)
performers we have the unique and rewarding opportunity to become directly involved in
the creation of new works. Performer-composer collaboration is the primary reason why I
find my career as a musician so vital and exciting, to the point where the commissioning
and performance of new music has become something of a mission for me. (Macgregor,
p.1)
For this project I had the privilege to find two very interested and committed
composers, who accepted the challenge of writing a new composition in a context of
collaboration, even if it had no payment involved. They participated in this project
only because of their interest in music and in exploring new sound possibilities.
As result of the collaborative process, two new pieces were written, performed and
recorded: Floating Embers by Olle Sundstrm and Keep the Night from Coming In by
Lisa Stenberg. Ive met both composers in the Music School of Pite. The
collaboration with Olle Sundstrm will be presented and discussed in Chapter 3 and
the collaboration with Lisa Stenberg in Chapter 4. A comparison and synthesis of
both and a reflection around the whole process will be presented in Chapter 6.
Collaboration between performer and composer will be used in this research as a
method to explore and understand an extended flute technique. The models presented
in this chapter will be discussed in the context of each specific collaboration.
3. Methodological approaches
This research emerged in the context of artistic research, a kind of practice-based
research, based on non-academic professional artistic practice. In this case, my
practice as a musician, and especially as a flutist, is the heart of the thesis. The purpos
of artistic research is to bring an equal status of practical knowledge within the
academy, developing the artistic profession and articulating tacit knowledge. It is
characterized by a methodological pluralism. The research questions are born in the
artistic practice and the results intended to be applied in practice.
3.1. Central issues of the project
The principal aim of the research will be to shed light on and to explore the use of the
flutists voice combined with flute playing, through performer-composer
collaboration and through composition.
The main questions guiding the research are: How can the use of the flutist voice
combined with flute playing be explored through collaboration? In which way can
collaboration with composers help us understand the use of the flutists voice? How
can the musicians practice clarify the use and the learning process of this technique?
Different methodologies were used to approach the research subject. In order to
understand and contextualize the use of the flutists voice while playing, an extensive
literature study using scores, flute methods, articles, dissertations, audio and video
recordings was made.
After contextualizing the use of the flutists voice while playing, I started two projects
of collaboration with composers. The first project (September 2012 to May 2013)
with the composer Olle Sundstrm resulted in the piece Floating Embers. The second,
with the composer Lisa Stenberg, resulted in the piece Keep the Night from Coming In
(November 2012 to May 2013).
3.2. Action research
The concept of action research was introduced in the early 1940s by the social
psychologist Kurt Lewin (1890-1947) in the context of the social sciences. Roe (2007,
p.87) identifies the characteristics of action research according to Denscombe (2003).
Its an effective form of practice-based research characterized by dealing with real
world problems and issues; researchers have an active participation in the process;
work through cyclical processes; change is an integral part of the process. This project
can be understood as action research in the way that my artistic practice is a
methodological tool that is used to deal with practical problems and issues. I have an
active participation in the process, and I intend to introduce changes in the existing
practice.
According to stersj (2008,p.12), there are two fundamental kinds of action research,
practitioner research, in which the practitioner is also the researcher, as opposed to
emancipatory action research, in which the researcher takes part as researcher/subject
and participators are objects. Similarly to stersjs project SHUT UP N PLAY!
(2008), this research can be considered practitioner research since the project only
involves a performer and composers, with no external researchers observing the
project.
3.3. Research strategies
The method of collaboration in both projects started in a similar way. During the
process, each collaboration initiative took a different direction. The process in each
project was, generally speaking: first I presented the general idea of the research
project and introduced to the composers some of the material that I had gathered
during the literature study. With some ideas in mind, the composers started to write
sketches. During this period I introduced what I called Experimentation Sessions
(that happened more systematically with Lisa Stenberg and in a more informal way
with Olle Sundstrm). In these sessions, I exchanged ideas and experimented with
some of the composers sound ideas, or scores from the flute repertoire, or just
improvised. This material was intended to serve as an input for the composer. After
the pieces were finished, the period of practicing the piece began, which in the case of
Floating Embers included rehearsals with others musicians.
During the whole process I kept a reflective journal or practice journal, where I
developed ideas about the practice of the pieces, the collaboration process and the
composition process.
Video or audio recording of rehearsals, experimentation sessions, performances and
studio recordings were used to discuss and reflect upon the outcomes of the
collaborations. Figure 1 shows the main methodological steps followed in this
research project.
Floating
Embers
-
Practice,
Rehearsals,
Performance,
Recording
ReVlections
around
the
collaboration
Figure 1. Research strategies during the collaboration
When comparing the literature studies with the material used by Olle Sundstrm and
Lisa Stenberg, I was inspired to express musically other aspects of the technique.
More specifically, I had the curiosity to try to systematise different possibilities that I
discovered during these two years of research. My own practice, rehearsals and
experimentations with composers led me to the desire to express ideas through music.
I composed the etude Old Game (2013), for flute and flutists voice that will be
presented and discussed in Chapter 5, using a creative method.
Collaboration
with
Olle
Sundstrm
and
Lisa
Stenberg
Literature
Study
Practicing,
experimenting
and
improvising
on
the
use
of
the
Vlutist's
voice
Composing
the
Etude
Old
Game
A comparative method has been used for different parts of the research: between the
two collaborations performer-composer; between the aspects of exploring the use of
the flutists voice while playing; between the different approaches to the practice of
the three pieces resulting from this research.
Different
patterns
of
collaborations
Lisa
Stenberg
Olle
Sundstrm
Different
Practice
Challenges
Floating
Embers
Keep
The
Night
from
Coming
In
Old
Game
Comparative
method
Different
approches
of
using
the
voice
of
the
Vlutist
Floating
Embers
Keep
The
Night
from
Coming
In
Old
Game
The structure of this research corresponds to case study process. Case study research
involves the experience of real people, in real situations and provides a rich source of
data. It provides detailed, authentic accounts of the phenomena in context (Roe, 2007,
p.89). This research presents three different projects that can be considered three
different case studies: the collaboration with Olle Sundstrm, the collaboration with
Lisa Stenberg and my process of composing an etude.
Data serving as a basis for this research include
The audio/video material was collected and analysed basing on the methodology
adopted by stersj (2008, p.13): by means of musical interpretation and analysis
(focus on the flute technique, analysis of the musical material); and by coding and
analysis according to qualitative researches procedures (focus on the modes of
collaboration). I adopted the same strategy of making the analysis directly from the
recorded audio and video.
The artistic outcomes of this research are three new compositions for flute and
recordings of the same (see Appendix).
3. Overview of different parts of the research
3.1.The projects
- Floating Embers by Olle Sundstrm, Chapter 3.
- Keep the Night from Coming In by Lisa Stenberg, Chapter 4.
- Old Game by Marina Pereira Cyrino, Chapter 5.
3.2. Audio recordings
The audio recordings, with the score of each piece (see appendix), represent the main
artistic result of this research.
Floating Embers: Recorded in LTUs School of Music - Pite, Sweden / March 2013.
Sound engineer: Mattias Wessel.
Old Game: Recorded in LTUs School of Music - Pite, Sweden / May 2013. Sound
engineer: Mattias Wessel.
Keep the Night from Coming In: Recorded in Fundao de Educao Artstica - Belo
Horizonte, Brazil / August 2013. Sound engineer: Bernardo Brando.
3.3. Written thesis
The written text should not be understood as the only focus of this research but a part
of the larger artistic research process. The function of the text is to connect the
different projects and to clarify the practical knowledge of the whole process of
collaborating, composing and performing.
1. Introduction
Extended techniques can be understood as the result of a research process where new
sound possibilities were systematized and widespread (Castello Branco, 2012, p.21).
The new flute techniques are not in conflict with the traditional technique, but present
themselves as a continuous process of exploring new possibilities of the instrument.
According to the flutist Robert Dick:
Many composers and instrumentalists worldwide are becoming increasingly interested in
the discovery and development of new instrumental sonorities, and all indications are that
this trend is growing into a major branch of composition and performance. This is
especially true for music for flute. Even in relatively conservative compositions written
today, it is a rare piece that is not influenced by new sonorities and techniques, colors and
articulations. (Dick, 1986, p.7)
All the major flute methods of new techniques introduce us to the use of the flutists
voice while playing, although most of the time this technique is explained very briefly.
And although an enormous part of the flute repertoire includes different kinds of new
techniques, and many flute methods are nowadays only dedicated to the extended
technique of the flute, these resources are not a priority in the flute education. Many
flutists go through their education without being in contact with it. Researches
focusing on the practice of new techniques and the practice of new music are even
less common.
In this artistic research project for the degree of Master in music performance, the use
of the flutists voice while playing will be discussed in the context of my own practice
and my collaboration with two different composers.
In spite of great efforts that have been put into the study of historic performance practice
during a great part of the 20th Century this has no equivalent in the research into
performance of new music. There exists handbooks in contemporary playing techniques,
especially for wind instruments, and there are also a number of books on contemporary
notation practice. Little research has been devoted however, to the performance
conventions of Art Music since modernism. (stersj, 2008, p. 4)
10
Another flute method, The Other Flute (1989), by Robert Dick, describe more deeply
the results produced by using the voice while playing. According to Dick, almost all
flutists can, in some degree, create multiple sonorities by humming while playing
single pitches.
The intervals formed and the timbre of these multiples sonorities depends, of course on the
pitch and timbre both of the note played and of the flutists voice. (Dick, 1989, p.143)
Pierre-Yves Artaud (1995) describes four possibilities of using the voice and playing
simultaneously: Flute pedal with voice singing; Voice pedal with flute playing; Voice
singing and flute playing in parallel movement (it is easier to control unisons or
octaves); and Voice singing and flute playing, both completely independent lines.
About this last category, he says:
This is extremely tricky and needs perfect control. The sound obtained can be modified
using different vowels or syllables. (Artaud, 1995, p. 119)
Here we have two musical examples of singing and playing, both found in Levine
(2002, p.129). In Example 1, the flutist sings an Eb while playing the written notes
(According to Artauds categories, voice pedal with flute playing):
11
In Example 2, the flutist plays a chromatic descending scale and sings in unison with
the flute line. At the same time, the flutist should sing glissando to the next note of the
scale (the singing line is here written with squares; according to Artauds categories,
flute playing and voice singing in parallel movement):
12
2.2.2. Flute pedal with voice moving: the flute sustains one note while the voice
moves
)
,'
"
(2013).
Example 4. Olle Sundstrm, Rimfrost
-+.
*
2.2.3. Voice
singing and flute playing, in parallel movement:
*
.
,'
.
+
.
+
Example
5.
Marina
Cyrino, Old Game (2013).
+
)
"
#!$
%&'(&
2.2.4. Voice
singing and
flute playing:
independent
lines
#
the bass line (with square
6, the flutist plays the top line, while singing
In Example
note heads):
#
Example
Embers (2012).
6. Olle Sundstrm, Floating
3. Speaking
and playing
#
One question
comes when we start to investigate
deeply all the possibilities of using
the voice while playing: where are the boundaries
between singing and playing and
playing?
and singing
can
very
The
limits
between
speaking
be
foggy
speaking and
only
in this kind of research, but also in a general sense. Most of the
flute
not
methods classify the use of the flutist voice as singing and playing. Levine (2002
p.37) suggests a different category than singing and playing: speaking and playing.
#
13
/
$
#
He describes speaking and playing as a popular technique where the flutist speaks
words or text sequences over the embouchure hole or directly into the flute, with
audible voice as well as unvoiced (whispering).
In Kaija Saariahos piece, for flute solo and optional electronics, Laconisme de lAile
(1982), we have an example of different possibilities for speaking and playing. The
piece starts with the flutist reciting a text with audible voice with the instrument down,
and slowly moves the instrument towards the lips, but also changes from audible
voice to whispering voice.
In the first bar of the piece (Example 3) we have an example of speaking without the
instrument on the lips, with audible voice.
In bar 19 (Example 8), we have another example of speaking and playing, where the
flutist should whisper into the instrument:
4. Musical examples: Illustrating singing and playing, speaking and playing, and
in between.
Even if we can assemble the use of the flutists voice in two main categories:
speaking and playing or singing and playing, the great variety that appears in the flute
repertoire is underexplored by the main flute methods. In the following examples
from musical works, the flutist has to use the voice in very different ways. My
intention is not to establish rigid categories, but to illustrate the large variety of
technical possibilities.
14
15
16
o #
nO
o
3
mp
Key clicks
Voice
SOLO FLUTE
4.4.
Whispering into the instrument
Performing notes
j j
>
>
No paus between the sections should bepmade.
General
Unvoiced sound
K
> r
> > > >
The piece consists out of 7 sections named A-G wich are free for the performer to play in any order.
All sections has to be played at least once.
All sections shall be performed from start to the end.
Sections may be repeated at a maximum of three times, but shall never be played more than once in a row.
ho
Flute
wo!
>
Kr
> > >
>
cho
to
to
j
>
>
>
cho
>
cho
to
wo!
p - to
p - to
pp
to
w.t
b Singing
o inn wunison or octave is considered the easiest possibility of singing while
playing
b by the main flute methods.
pp
fz
#
o mp
closed embouchure.
Unvoiced whispering
Ch as in Bach
t - ko
By closed embouchure, the composer means that the embouchure hole must be
j
cho
w.t
Keep
j
half open embouchure
Stenberg,
TheNight From Coming
Example
b n 15. Lisa
In (2013).
>
open embouchure
pp
p
b
> > >
j
>
Shiftmf
graudally from only air sound to full tone
o
Example 16. Kajsa Saariaho, Terrestre (2002).
LISA STENBERG
17
Example 17. Kajsa Saariaho, Mirrors for Flute and Cello (1997).
18
5. Throat Tuning
In the flute method Tone Development through Extended Techniques (1989), Robert
Dick1 introduces us to the Throat Tuning:
The tone begins when the air is blown across the edge of the embouchure hole, setting up
an oscillation of the air stream in and out of the flute, causing the air inside the instrument
to vibrate. But the vibrations pass not only forward from the embouchure into the flute,
but back through the mouth, neck and chest of the flutist as well. (Dick, 1989, p. 9)
1
Robert
Dick,
composer
and
flutist,
is
a
leading
proponent
of
contemporary
music
and
is
know
worldwide
for
his
command
of
extended
techniques
for
flute.
19
According to him, the tone of the flute is a complex combination of the flutist and the
flute. The sound of the air vibrating within the flute is resonating also within the body
of the flutist. Throat tuning is when the throat of the flutist is in position to resonate
best. It happens when the vocal cords are brought to the correct position to sing a
pitch.
When the vocal cords are held in position to sing a given pitch, the throat is in position to
resonate that pitch best. (Dick, 1989, p. 9)
Throat tune should be an important part of the flutists practice and can be achieved
by only singing, or by singing and playing simultaneously.
Mastery of throat tune is achieved by practice of singing and simultaneously singing and
playing the flute. (Dick, 1989, p. 9)
6. Reflections
Why sing if youre not a singer? Even today, extended techniques are seen as an
optional appendix to the traditional technique. But by going deep into the new flute
methods, we began to observe that the systematic study of new techniques brings
great benefits. Instead of regarding new sonorities as strange effects that composers
write, we could recognize the importance of introducing these techniques in the daily
practice.
Robert Dick (1986) maintains that working with new sonorities will greatly benefit
traditional flute playing. The benefits can be the development of the strength,
flexibility and sensitivity of the embouchure and breath support. The practice of new
techniques can also increase the players range of color, dynamics and projection.
Another very interesting benefit suggested by Dick is sharpening the musicians ear.
One must hear the desired pitch clearly before playing it when familiar fingerings are not
used, and quartertones and smaller microtones sharpen the sense of pitch as well. (Dick,
1986, p. 7)
20
Floating Embers
1. Introduction
Floating Embers, by the Swedish composer Olle Sundstrm2, was written in 2012.
The piece, a duo for flute and voice (soprano), was commissioned for my Masters
project, to explore the possibilities of using the voice of the flute player. I will present
in this chapter an overview of the piece and discuss the use of the flutists voice in
this context and my collaboration with the composer.
My collaboration with Olle Sundstrm started in the context of this research. As a
current student
the same school, he heard through a friend about my project and
Spark of
of Imagination
Flute
took the initiative to contact me. From the beginning, Olle Sundstrm had in his mind
o
b using
o
b
a strong
idea:
of the flutist. He had already composed other
the singing
Jvoice
b
& 44
pieces using this specific flute technique (for example in Spark of Imagination,
written for NEO3 in 2011) and
he was interested in continuing to explore it.
n
Olle Sundstrm
enrgetic
q = 90
&
b b
bR
b
b
nb
In the following excerpt of the flute part of Spark of Imagination, composed before
the beginning
of our collaboration,
the flutist should sing in unison with the written
b
.
b b b n J
n n b J J
line:
&
f
10
mp
b
b
& J J J J
13
&
21
&
27
U
& w
33
pp
mysterious tranquil
sing
mf
mf
b b b b b
mf
mf
C Slightly faster
mf
mf
q = 100
mf
mf
45
mf
44
2
Olle
Sundstrm was born in 1989 in Stockholm, Sweden. He has studied musicology, music psychology and
composition at the University of Uppsala, and is currently studying composition with Professor Jan Sandstrm at
Musikhgskolan / the School of Music, in Pite. He has composed for different chamber music ensembles, choir,
orchestra, and film.
NEO - Norrbotten NEO is a Swedish ensemble, being charged with promoting contemporary art music on a
national basis. The ensemble consists of seven musicians employed full-time and has Studio Acusticum in Pite as
its home base. One of my flute teachers, Sara Hammarstrm, is part of the ensemble.
21
One of the main characteristics that will run through the whole collaboration between
Olle Sundstrm and myself is his interest in the singing voice of the flutist. In
Floating Embers, he explores it in many different ways.
Figure 5. Olle Sundstrm and Marina Cyrino in an Experimentation Session, Pite, 2012.
22
!"
!"
#
The use of the flutists
voice begins as singing
voice.
More precisely, its a
flute pedal
with singing line. The flutist should sing a melodic
make a
line that goes from Eb,
Eb.
glissando to F# and back to the
Eb,while the fingers
sustain
an
$ $ $ $ $ $ $ $ $ $
#
$ $ $ $ $ $ $ $ $ $
$ $ $ $ $ $ $ $ $ $
%&
-
.
/
$
#
#
Edgy (bar 1 38) starts with flute air sounds
and
be described
with examples from the score.
#
Frulatti or Flutter Tongue
p. 12)
flutter
Levine (2002
the
as one of the most popular techniques
classifies
tongue
in new music. According
to him,
this
technique
has
achieved the status of classical
new technique because of its widespread use. The flutter tongue can be obtained in
two different ways, by tongue or by throat: By wagging the tongue or by vibration of
the throat Artaud (1995, p. 19).
#
In Floating Embers both tongue and throat techniques can be used. The flutter tongue
is also combined with aeolian or air sound, for example in the first bar of the piece.
'
(
!"
)*
+,+
Example 24. Floating Embers, bar 1.
!"
One special
characteristic of this piece is the combination of the flute flutter tongue
(written as uvular R in bar
flutter
in a mysterious
and the singer
tongue
5),
resulting
flutesound and
the singers
voice.
fusion
# between
the
23
'
(
)*
+,+
!"
!"
Example25. Floating
Embers,
bar 1 to 6.
#
According
to Artaud
p.117),
to
produce
this
effect
(1995,
the
flutist
must
close
the
hole
of the
mouthpiece with the tongue in a forceful way, without expiring any air.
$ $ $ $ $ $ $ $ $ $
$ $ $ $ $ $ $ $ $ $
'
( in
This effect results
a tone a major seventh lower than the original finger position
notated in the
score. The
for example in bar
effectis
used
38 of Floating Embers.
2
#
)*
+,+
#
*$#
%&
!"
$Floating
$$ $Embers,
Example 26.
to
38.
$ $ bar
$36
$
$$
!"
-
.
/
$
#
Slap tongue
or
tongue
pizzicato
(Percussive
Effect)
0
#
#
Levine (2002)
pizzicato is produced
normal
the
the
tongue
by modifying
#
of the tongue.
articulation
The
tip
of
the
tongue
lies
firmly
on
the
roof
of
the
mouth
)*
+,+
$$
*
air stream,
to the bottom
by a strong
and
then,
supported
is
explosively
thrown
(2002,
p. 25). In
Floating
Embers, the slap tongue is used for example in the first Eb
of the
!"
bar 19.
$ $ $ $
$ $ $ $ $ $ $ $
$ $ $ $ $ $
%&
%&
%&
%&
#
explains
that
#
#
$ $
#
1
1
Floating
Example
27.
Embers,
bar
18-19.
.
$ $ $ $ $ $ $ $ $ $
#
.
%&
-
.
1
1 /
$
#
24
1
#
.
)*
+,+
.
. $ $ $ $ $ $
$$
#
)*
+,+
Jet Whistle
!"
!"
semi-pitched resonances of
Robert Dick (1989 p. 142) defines jet whistles as breathy,
$
$
$
$
$
$
$
$
$
$
%& hole between the lips and
flutes
the embouchure
tube, produced by placing
the
effect.
)*
+,+
$ $ $ $ $ Example$28.
$Floating
$ $ Embers,
$ $
$ 28.
$ $
bar$27
$
!"
embouchure
Trumpet
Levine (2002, p.18) defines trumpet embouchure
3
as a tone
created through a
#
combination
of
lip
tension,
air
pressure
and
resonating
spaces.
The lips are pressed
together and vibrate
a strong exhaling pressure.
through
tightly
#
combination between
Floating
Embers,
the
the
trumpet
embouchure,
produced
on
In
the embouchure
hole,
and the
fingers moving
in afast
trill,
creates
a very innovative
$
%&
+%
-
.
/
$
#
MYSTERIOSO
second
In the
Embers,
part of Floating
a melodic character replaces the effects of the
melodic line, which is disturbed by the
first part. The
flute has
a calmcantabile
introduction of the flutists voice in bar 48:
&'
&'
&'
#
2
2
/
/
25
Here the flutist should sing the phoneme ta-ke-te in the notated pitch, different from
the pitch of the flute sound, creating multiple sonorities. The flutter tongue is the only
effect introduced in the first part that is also used in the Mysterioso (except for
singing and playing).
2.3. Third
Section:
INTENSE
1
1
1
1
1
The Intense part starts with a canonical duet between the flute and the singer. This
final part of the
piece can be
subdivided
in two, according to the different uses of the
singing
and playing technique. First, in bars 59 to 67, the singing and playing
is explored
as in the Mysterioso,
through
technique
the thematic phonemes ta-ke-te.
The difference
is that in this
the
flutist sings only in octaves with the flute
1
1 third
part
1
line.
bar
end, and gives
67
A new
material
last
is presented
from
to
the
to
this
# thematic
part
flutists
voice
its
main
character.
The
use
of
the
reaches
its
maximum
complexity
in
this section. Here
the flutist
has to
sing a melodic
bass line, and simultaneously play a
flute.
1
melodic line
The
intervals created by the two lines give the harmonic
in the
progression.
#
1
Embers,
Example
# 32.
Floating
bar 73
to78.
here
toinvert the
typical
of
The
roles
the flute andthe singer.
Thecomposer
wanted
flute creates chords and a melodic bass line, and the soprano sings in a very high
register, the typical register of the flute,
imitating a flute. As result, we have a melting
the
between the voice of the flutist and the voice of the
singer. It can be tricky for
audience
todistinguish
the
singer.
flutist
issinging,
or the
#
who
1
26
#
This is the most difficult part for the flutist when it comes to the use of the voice. The
challenges and solutions found through practice will be discussed in more detail later
in this chapter.
One last interesting detail of this piece concerns the singers part. The composer
explores a very high register of the voice, culminating on g3:
#
# Embers and the use of the flutists voice
3. Floating
Floating Embers is an innovative piece, since it combines flute sound not only with
the flutists voice butalso with
the voice
now,
of a singer.
Until
in my
research
about
other pieces that use the voice of the flutist, I found only one written for this kind of
setting.
#
In
Floating
is used in a traditional
established way (if
Embers, the voice of the flutist
voice
of the
normal and traditional can be used in this kind of context). The
flutist is always explored as a singing voice, but mainly in two different ways. Most
/
$
#
#
27
3
of the time, the composer uses the voice to create a counterpoint of distinct melodic
lines, exploring the polyphonic facet of the flute.
An excerpt of the third part of the piece
shows us an example of flute pedal with
moving voice.
While
the
flute
sound
sustains
a C, the flutist sings a melodic line.
#
bar 67 to71.
Example 35. Floating
Embers,
#
Another
excerpt
from
the
third
part
(Example
36)
shows
us
again
an
example
of
singing voice
while playing, butthis time in its maximum
complexity and difficulty
#
voice
Each bar can
an
of
pedal
separately
example
with
flute
be
considered
amoving
#
part, but in a larger context, the bass line that the flutist should sing is also moving.
Here, the singing
line is not only a color added
to the flute sound, but it has an
important harmonic role, creating
chords
through
a
bass
line. Thisuse of
the voice is
very tricky and requires a lot of practice so that the flutist is
able to
remember
to sing
voice
the right pitch
with a good intonation
between intervals create
by
the flutists
and the flute. Its also necessary/
$
#
to find a good balance between the voice and the
flute sound
and keep the continuityof
both lines.
#
The other
kind of using
the singing
voiceof theflutist, not
as a second
melodic
line,
3
articulation
was to use the voice
as
a
color
to
produce
a
different
kind
result
in
the
sound. The
flutist
has to
play
repeated
notes
while
singing
ta ke te.
28
!"
!"
#
1
1
1
1
1
$
1
1
1
1 1
of combined syllables (ta-ka-ta / te-ke-te/
du-gu-du) appears
in most
of the
This
#kind
1for the tongue
flute methods, but usually the syllables are used just as reference
position, to produce
different tongue attacks. It meansthat
imagines
the
flutist only
and tries to
the
syllables
keep the mouths shape, but doesnt use the vocal cords. In
this piece, the
composer
asks the flutist to sing while playing, so the articulation
1
becomes noisy, rough, even grotesque. The challenge here was to produce a clear
staccato sound. The composertakes advantage
one aspect
be seen as a
that
could
of
limitation.
#
sonorities
1
Unless the flutist has an exceptionally clear voice, however, the multiple
created by singing
and playing simultaneously are usually of a rather coarse, often noisy timbre. (Dick, 1989, p. 143)
We can find this kind of articulation in Elia (1984) by Philippe Hurel. The sounds
1
te-ke-te are spoken, without
simultaneous flute
playing, and not sung in a specific
pitch asin Floating Embers.
#
1
Hurel,Elia
Example 38. Philippe
(1984).
#
1
1
Floating Embers was the first collaboration in my Master project. Even if I had some
previous experience of extended flute techniques, the use of the voice while playing
was a new technique for me. Levine (2002) suggest a simple practice tip for flutists
that are starting to learn singing and playing: The flutist should produce a vocalized
sound while exhaling without the flute, then move the flute slowly towards the mouth
and increase the intensity of the air until a flute tone appears. One important point to
29
focus on is that the outside neck muscles should be relaxed. The air pressure must be
strong enough to overcome the resistance presented by the vocal cords. (Levine, 2002,
p.20)
One of the first challenges I faced practicing Floating Embers was that of finding a
good balance between the melodic line produce by the flute and that produced by my
voice. When I started practicing the piece, I could sing quite loud but then I lost the
focus of the flute tone, or I could produce a great flute tone but then my voice was too
soft.
Finding a balance has to do with the relation between the lines. For example, if the
voice is used to add a color in the flute line then the flutist can sing softly. If the
singing line has an important polyphonic role, then the flutist can aim for an equal
balance between the lines. Or, if the flutist has to speak a clear text, then the voice can
be more prominent than the flute sound. The flutist should develop through practice
the ability to perform with all these different kinds of balance.
Another challenge is one that is directly related to singing: to remember the right
pitch. As a flutist, I didnt have so much training in that, just normal solfeggio
education. And it was really hard to sing a tone while the fingers press another tonekey in the flute. In the beginning, the voice automatically sang in unison with the
flute. It took some time to separate the movement of the fingers from the voice. One
strategy I used was to sing the melodic line without blowing in the flute, but just
moving the finger positions, so I could separate the two melodic lines in my mind.
Through practice I found some solutions that helped me a lot. I had great help from
Robert Dicks Tone Development through Extended Techniques. Robert Dicks
Throat Tune technique was introduced in the previous chapter. Here Ill mention
one of the exercises he proposes that proved very helpful in my own practice.
This exercise (Example 39) can be adapted to specific passages in a piece and is a
great tool for memorizing the singing part; at the same time it also helps improving
the traditional flute technique (as we discussed previously in Chapter 2, section 5,
throat tune allows the flutist to achieve maximum resonance of the flute sound).
Now the passages of Floating Embers that require the use of the flutists voice will be
presented with my systematization of the learning process:
30
$ $ $ $ $ $4.1.
$Passage
$ $ from
$
((
bar 19
$ to
$ 26:
$Voice
$ $glissando
$ $ $with
$flute
$ pedal
In this example we have flute pedal with moving voice. The flutist starts to
Challenge:
$ $ $ $ $ $sing
in
%&
unison
difficulty
here
is to sing
with the flute. The major
a clear glissando and
keep the dynamics required by the composer.
-
.
Practice
Tips:
$$
*
4.2. Bar 37
%
2
+%
1
#
%
Example 41. Floating Embers, bar 37.
*$#
In this example the flutist has to sing an F and play a C#.
Challenge:
%&
%&
%
2
2
Example 42. Floating Embers, bar 49 to 51.
1
1
.
/
31
2
/
%
of the
Imagine
Practice
Tips:
the sound
of the C# in the second octave
flute,
%
just
singing.
helped
find the right
imagination
before playingand
This memory
me
to
2
2
C#.
4.3.
Passage
from
bar
47
to
52:
Singing
ta
ke
te
in
different
tones
/
/
%&
.
/
Challenge: The passage has been discussed previously in the section 3 of this chapter.
Here I took the example of bar 49 to 51, but its valid for the whole passage from bar
47 to 52. The challenges are: to remember the right pitch and find a good staccato
articulation.
Practice Tips: For the voice memory training I found good results following these
steps.
a) Play the voice line with the flute:
b) Play the flute and sing alternately (dont play the flute part during the singing
part)
c) Play the flute and sing alternately (dont play the flute part but move the
fingers)
32
4.4. Passage from bar 55 to 66: Sing Ta-ke-te in octaves with the flute line
#
1
1
1
1
Example 46. FloatingEmbers, bar
55 to 56.
its much more simple to sing in octaves with the flute line, the
Challenge: Although
$
1
1
1
challenge of singing and playing a staccato articulation is still the main focus.
1
Practice Tips: Practice slowly, singing and playing simultaneously as written until its
possible to
produce
a short and clear articulation.
#
#
1
1
#
flutists voice and the flute line and to sing the tone G from bar 72 (since its a
difficult
interval to sing and play simultaneously).
#
Practice Tips:
1
to practice
the two
the passage
a) For
the
balance
between
starting
I recommend
lines
with
a good tone in the voice
and an air sound in the
flute line, then slowly increasing
1
the pressure
of the air to find a focus sound on the
flute. After several times
it
becomes natural for the lips to sing and find a good C tone directly.
#
#
Example 48. Practice
Journal.
1
#
33
#
b) During the practice, playing the voice line with the flute proved to be the best way
for memorizing the voice part.
c) To solve the difficulty of singing the tone G while playing an A in the flute (bar 72),
I practiced starting to sing the G a little bit earlier, in unison with the flute. It worked
very well and it allowed me to be confident of the tone I had to sing.
Example
50.
Practice
Journal.
d) Play and sing as written
#
89:
4.6.
from bar 67to
The complexity
distinct
lines
Passage
of
singing
and playing
#
Embers,
Example 51.
bar 73 to 78.
Floating
I found
results
good
following
these
Practice Tips:
steps.
a) Play only the flute part, with
a natural open sound,
legato and a very continuous air
stream.
#
34
/
$
#
#
b) Play the
voice line with the flute (an octave higher, because of the flute range) to
memorize
it
%
!
Journal.
Example
53. Practice
voice
to memorize
sing
find a
continuous
in octave
the
c) Play and
and
air
line,
to
%
flow
%
Example 54.Practice
Journal
d) Sing the whole voice line and only move the fingers from the flute part
%
e) Sing
and
play
as
written
Passage
4.7.
from bar89 to 96
%
Example
55.
4
%
35
4
Challenge: The only difficulty is to find the tone D with the voice, as it has not
appeared before.
Practice Tips: I have no specific recommendation. Its a question of memory training,
and it requires from the flutist to practice their inner ear. I used the tone C, played in
bar 88, to find the tone D.
5. Collaboration
5.1. Introduction
The collaboration with Olle Sundstrm started when I was looking for composers
interested in this research project and available for participating in it. As described in
the introduction to this chapter, he took the initiative to contact me and he had a
strong interest for using the singing voice of the flutist. When he first contacted me,
he had already in mind the setting of the piece: a duo for flute and soprano. The singer
that would participate in the project was also chosen: Josefine Gellwar Madsen, a
soprano with whom he had already collaborated in other compositions of his.
The first contact we had was in May 2012, through an informal conversation. The
actual collaborative work started in September 2012. At this point, we had our first
meeting with defined roles as composer and performer, where I played for him some
extended techniques presented is this chapter as trumpet sound, tongue ram, slap
tongue and some possibilities of using the flutists voice. After that first meeting, the
composer showed me some sketches and soon after that we started the rehearsals of
the first version of the piece with the singer.
The process of composing the piece was from September 2012 to November 2012.
After that, only small adjustments were made to the score. The piece was premiered
in December 2012. Most of the collaboration consisted in rehearsals with me and the
singer and discussions on the realization of the score. Even if the piece was mainly
finished in November 2012 the collaboration remained until April 2013. A studio
recording of Floating Embers was made in March 2013. The composer remained very
active and interested in all rehearsals, recording sessions and performances.
5.2. Collaborative patterns
One of the aims of this research is to explore the use of the flutists voice through
collaboration. Here Ill try to describe the impact I had as a performer during the
collaboration process. Ill look to the interaction and changes made to the piece
during the process of composition of Floating Embers.
Returning to the patterns of collaboration presented in Chapter One, two models of
collaboration proved relevant to this research: John-Steiner (2000) and Hayden and
Windsor (2007). Its always difficult to categorize such a complex process as an
artistic collaboration. My intent is to conduct a dialogue with these theoretical models,
not to downplay the role of the experience.
36
Hayden
and Windsor (2007) discuss patterns of artistic collaboration specifically
applied to a musical
and propose three distinct categories: Directive,
context
Interactive
and
Collaborative.
with Olle Sundstrm can be
My
collaboration
considered Interactive, mainly because
it included negotiation
between composer
andperformer, but
the
composer
is
still
the
author
of
the
piece.
5.3. Examples
*$#
As the piece was commissioned
for this project, the main impact that I had in this case
The
and timbre. When it came to the question
piece
was written tofit to my register
whether it could be played by another
flutist with a low voice, the composer
2
In one of the
versions
of Floating
Embers the composer wrote a tone, f , that was
have the grotesque effect, so we decided to
quite high for my voice and also didnt
it by one
octave
lower
%&
that it
was possible
but would result in a different piece.
commented
%&
%&
1
1
Example 56.
Floating Embers, bar 47, earlier version.
.
.
37
&'
&'
&'
($#
2
2
Floating
final version.
bar 47 and 48,
Embers,
57.
Example
to the
One of
the changes
piece that the composer made during the rehearsals was
passage in the piece I had to sing at a pitch for
/
At
/
related to
memorizing
a pitch.
one
which I had no previous reference, so we agreed to change it to one that I had just
In bar 48
played
and could
easily
remember.
the tone A (in the flutists voice line)
(Example 56, bar 48). This made it
by thetone
was replaced
F in
the
final
version
for other
easier
for me
and
flutists that
will play this piece but didnt affect the
ofthe sound.
%&
idea %&
composers
main
%&
2
2
/
/
/
/
Example 58.
Floating Embers, bar 47 - 48, earlier version.
/
6. Reflections
,
,
One aspect
of thecollaboration that was not discussed until now is the role of the
singer in the
She
was involved
partnership.
in this project only as a performer and she
didnt
have
a thesis
oracomposition
to write. Naturally, she wasnt as much involved
in the
for
several
/ discussions
as
we
/ were
reasons such as shortage of time or lack of
remuneration
for
her
work.
Still,
the singer was a very committed performer and
/
interested in the piece. She also had a great influence on the piece and we should have
found a way to exchange and integrate more our ideas about the collaboration.
The informal
part of the collaboration with Olle, short conversations in the corridor,
break,
for
example,
had a positive impact on the process.
or during a coffee
,sessions
$ and
$ rehearsals
$ $ $ $
be a little uncomfortable or rigid in the
Experimentation
can
beginning, when you dont know the composer in advance. Small informal moments,
including
after a concert, are extremely
e-mails,
phone
calls
and short conversations
important
to
create
a
more
spontaneous
bond
that
will
be reflected in the actual
collaboration work. Something that I believe to be part of my strongest input in the
process of the composition of Floating Embers started with a question asked by the
composer in the corridor of the school: What can you sing? The special agency of
my voice in
the process of collaboration
will be discussed in Chapter 6.
,
$ $
$
composer
and
involved
The
in the project were satisfied with the piece,
the musicians
,
$
$
$
,
$
$
the final score, the first performance and the studio recording. The composers
38
interest in the singing voice allowed him to explore deeply that aspect of the
technique. Even if my input consists in small details, these details shouldnt be
underestimated. In these small exchanges, great creative ideas can grow. The
collaboration worked marvellously, also with the deadlines, a very important detail in
a project linked to a thesis.
Figure 6. Olle Sundstrm, Marina Cyrino, Mattias Wessel and Josefine Gellwar Madsen recording
Floating Embers, Pite, 2013.
39
1. Introduction
This chapter presents and discusses the piece Keep the Night from Coming In (2013)
for solo flute, the result of my collaboration with the Swedish composer Lisa
Stenberg4. The piece was also commissioned for my Masters project, to explore the
possibilities of using the voice of the flute player. I will present an overview of the
piece and discuss the use of the flutists voice in this context and my collaboration
with the composer, which will be compared to that described in the previous chapter.
The collaboration with Lisa Stenberg started in November 2012, in the context of this
research. She was suggested by one of my flute teachers, Sara Hammarstrm, as a
possible composer that would have an interest in participating in a collaboration
project. Lisa had also studied in Pite, but when I started my project she had already
moved to Stockholm. An important difference from the previous collaboration is
related to the distance. We met in person only four times. The greater part of the
process was thus conducted through e-mails and Skype meetings. Our collaboration
started with an e-mail, where I explained my research project and asked if she was
interested in joining it. Luckily, she showed great interest, and we developed a rich
collaboration.
Another strong contrast to the collaboration with Olle Sundstrm was the duration of
the compositional process. Lisa Stenberg and I started to exchange ideas in November
2012 but the piece was not finished until April 2013, exactly two weeks before I
started writing this chapter. The process of experimentation was very long and
4
Lisa
Stenberg:
Composer,
Performer, Sweden. In, 2007 she began her studies at the Bachelor Program in Music,
Composition at the department for Arts, Communication and Education, Lule University of Technology under the
guidance of Professor Jan Sandstrm. In 2010, she entered the Master Program in Music Performance,
Composition. As a composer, she embraces ensembles of various sizes and constellations, ranging from symphony
orchestra to solo musicians. She is working with acoustic music, electro acoustic music and combinations of those
expressions. Non-musical ideas and the sounds themselves are often at the center and the starting point for her
work in which the ideas are explored and molded into a sonic shape.
During the years she has also collaborated with dancers and performance artists, created sound design for theater
and composed for documentary film and art film. As a performer she appears with sound works and
improvisations based on real-time processing of different sound sources, solo as well as in different constellations
with other musicians or dancers.
40
interesting and the time to practice the final version of the piece was very short. The
piece has not yet been performed in public. A studio recording has been made for the
purpose of this research. All these factors will affect the structure of this chapter. One
very important remark is that the collaboration with Lisa Stenberg is still in progress.
Even if the piece is mainly finished, small changes in the score are still possible.
Even if Keep the Night From Coming In just got out of the oven, I feel comfortable in
presenting the several aspects of the flutists voice. I have a lot of material to discuss
in this chapter due to the amount of sketches that the composer produced. A large
part of the material for the piece was already present in the sketches that I tested and
discussed, beginning in February 2013.
Figure 7. Lisa Stenberg and Marina Cyrino in an Experimentation Session, Pite, 2012.
41
Commissioned
byclosed
Marinaembouchure
Cyriano
2.2. Open,
half open, and
One of the distinctive features of the piece is that it explores a very interesting aspect
SOLO
FLUTE
of the flute:
the closed
embouchure.
Performing
notes
In the score
Lisa Stenberg
indicates a range of degrees of openness of the mouthpiece:
open, half-open
and
closed.
Open embouchure is the traditional position of the lips. In
General
the closed embouchure, the flute player produces sounds by sending breath through
piece consists
out ofp.1).
7 sections
A-Gshould
wich arecover
free for completely
the performer to
in any order.
the fluteThe
(Manabe,
2008,
Thenamed
flutist
theplayembouchure
All sections has to be played at least once.
with theAlllips
and
air from
sounds
sounds. In chapter 2, musical
sections
shallproduce
be performed
start toor
thevoiced
end.
examples
usingmay
thebeclosed
were
13,more
14 than
andonce
15).in a row.
Sections
repeatedembouchure
at a maximum of
threeintroduced
times, but shall(Examples
never be played
No paus between the sections should be made.
A peculiarity
of the closed embouchure is that is not possible to produce a regular
Accidentals is valid only for the specific note notated at.
flute tone
with
thisi specified,
technique.
Blowing
inside
hole
doesnt produce
If nothing else
the notated
dynamic
is validthe
for embouchure
both flute and voice
system.
the friction needed for producing a flute tone. The possibilities of using closed
Flute
embouchure
are air sounds, singing or whispering.
All trills shall be performed as timbral trills
All glissandos shall be performed as lip glissandos if possible
closed embouchure.
half open embouchure
open embouchure
Example 59. Keep The Night from Coming In, performance notes.
The broken (dashed) arrow indicates a gradual shift
from technique to another.
The transitions between half and closed embouchures allow the exploration of
different colors for the air sounds. Flutists can play with many shades of air sounds
and whispering voice. The closed embouchure results in a hollow, stifled sound.
Only air sound
2.3. Extended
flute techniques
Keep The Night from Coming In contains numerous relevant extended flute
techniques: multiphonics, key clicks sounds, air sounds, flutter tongue, embouchure
glissando, whistle tones. The techniques that werent mentioned in the previous
chapters will be described briefly.
Shift graudally from only air sound to full tone
42
mf
j
>
j
> > >
j
>
j
>
> >
to
j
>
j
>
flz.
brato
to
to
Multiphonics
mf
j
>
gliss.
mf
j
b
p
t - t - t - t - t - t - t - t
to
j The flutes
capacity
LISA
to STENBERG
to
1989, p. 83)
mf
gliss.
j
bb
flz.
wealth of the flutes
multiphonic capacity is extraordinary, and each player will
glissThe
.
mf
undoubtedly
find the types of sonorities
that most speak to him or her. (Dick, 1986, p.36)
p # #
gliss.
f
mf
In Keep The
Night
from Coming In threemfmultiphonics are used, and they are one of
gliss. piece,
the bmost difficult technical challenges
if the flutist is not familiar with
gliss.
of
the
b
the technique:
o
p
mf
mf
R
#
gliss. b
o ppp mf o ppp o
pp
mf
to
. o mp
p
.
b. n. . . . .
o
p
flz.
to
t - t - t - t - t - t - t
o
p
gliss.
mp
mf
Key clicks
Example 62. Keep the Night from Coming In, performance notes.
Voice
In Keep the Night From Coming In the key click sounds are used as percussive effects
with open and closed embouchure, but also in between.
Unvoiced sound
Unvoiced whispering
Ch as in Bach
43
> >
&
mf
&
> >
s
to
gliss.b
o
mf
o
p
mf
& <b>
gliss. b
ppp
mf
mf
wide vibrato
C extremely
&
Embouchure
glissando
. . . .gliss.
. . . . b o
mf
pp
#
n
o mp o o
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
.
. . . .
. . b. b n
&
b n
b. n. . .
ppp
mf
wo
. . . .gliss.
. . . . b
ppp
mf
pp
mf
J
ppp
mf
Glissandi
in flute literature can be understood as seamless transitions from one tone to
&
another. They can be Embouchure or Fingering glissando. Keep The Night From
Coming In uses embouchure or lip glissando. The technique is produced by changing
Copyright 2013 LISA STENBERG
the lip tension or by turning the instrument inward (to produce a descending
glissando) or outward (to produce an ascending glissando) (Levine, 2002, p.45).
o gliss. #
O
o
glisbs.
mp
gliss.
b b o
#
nO
o
3
R
ppp
mf
mp
j j
> >
j
>
> b>Timbral
trills
cha
>
j
>
cha
b
rK
j
fingerings
Timbral
trills
are between
two notesof the
same Krpitch. Trillingj alternative
>
> > >
> > > > >
>
>
of this same tone produces the variations of the same tone. This technique produces a
cha
cho
cho
cho
cho
cho
to
to
to
woh!
j
>
b n
Whistle
j j
> >tones
>
j
j slow
j
extremely
j focused
but
air stream
across the edge
of the embouchure hole
> >
>
> > >
>
cho
fz
cho
>
cho
. w.t
J
pp
b
#
mf
j
>
mf
b
> > >
The flute whistle tone, also known as the flageolet, is produced by blowing an
Whisper
over the edge of the blowing wall
cho
chotones are
woh!the sound of the
cho air breaking
cho
cho
cho
without exciting the air in the flutes tube into vibration. (Dick, 1986, p.26) Any
standard fingering can be used, but low-octave fingerings enable the flutist to produce
the harmonic
throughout the flute range.
w.t
. series
w.t
b
b o bw.t
b o
nw
tones are
echo of a loud
In Keep TheJ Night from#Coming In, whistle
used as abdelicate
b
flute sound.
pp
fz
pp
o mp
o fz mf pp
fz
mf
b n
n .
44
#
o mp
p - to
> b>
>
f
>
woh!
p - to
j
>
j
>
pp
to
mf
o - to - to - to - to - to
. w.t
J
ubato
cho
fz
t and gentle
>
cho
j
>
>
cho
j
>
cho
. w.t
J
pp
= 55)
fz
>
pp
j
>
cho
j
>
woh!
cho
>
>
cho
>
cho
cho
w.t
. b
b o bw.t
b o
COMING IN
JKEEP THE
# NIGHT FROM
b
b
pp
pp
o mp
o fz mf
fz
mf
fz
nw
w.t
pp
j j O
j
j
j
j
j
j
O
O
O
O
O O
O
>
>
> >
>
>
>
> > >
voice
Gmf flz.
b
j j
j
j
j
> > # n
> # #
.
>
>
> >
2.4.1.
The
melting
points
to p
to
to
to
to
to
to
o mp o
p
3
Keep The mfNight From Coming In plays around limits and boundaries. The piece
flz.
explores the melting
point between
flutists
and the flute sound, between
b the
n j voice
j
j
j
j j
O
O
O
gliss.(open
spaces
inside
and
outside
thea flute
b and> closed >embouchure),
>
> >
between
whispered
KEEP THE NIGHT FROM COMING IN
3
Example 65. Keep the Night from Coming In, section E.
j
Composed
for Marina Cyriano
gliss. b
Commissioned by Marina Cyriano
t - t -
> >
mf
> >
s
to
Key clicks
j
>
that permeates
# the
feeling
thegliss. b
gliss.b
piece.The
whole
flute line starts with air sound, then the singing voiceof the flutist is mf
3
mf
combined
in octaves owithppp
the air sound,
and subsequently
the air sound of the flute
p
mf
Performing notes
o
p
General
Unvoiced sound
The piece consists out of 7 sections named A-G wich are free for the performer to play in any order.
All sections has to be played at least once.
All sections shall be performed from start to the end.
Sections may be repeated at a maximum of three times, but shall never be played more than once in a row.
Unvoiced whispering
Ch as in Bach
chi
to
- o
mf
line
In one musical gesture the composer explores the incertitude
becomes a tone.
b
ofgliss. b
is it voice?, is it air?, is it flute sound?
o
No paus between the sections
gliss. should be made.
Accidentals is valid only for the specific note notated at.
If nothing else i specified, the notated dynamic is valid for both flute and voice system.
mfFlute
#
n
o mp o o
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
. . . . .
. . b. b n
closed embouchure.
mf
open embouchure
b n
mf
.
b. n. . . . . .
ppp
mf
wide vibrato
xtremely
. . . .gliss.
. . . . b o
mf
pp
. . . . . . . . b
gliss.
ppp
mf
pp
mf
J
ppp
mf
ppp
R
o
mf
ppp
Keep The Night from Coming In is full of different consonants, vowels and syllables
indications in the voice line (t, wo, s, cho, a). These nuances create a
delicate
variety
in the timbre and articulation of the musical gestures.
Whistle tone
w.t
45
ppp
mp
&
&
mf
mf
t - t - t - t - t - t - t - t
&
gliss.
gliss.
j j
b
>
j
b
j
>
j
>
pp
j
>
to
to
# n
> >
mf
&
> >
gliss.b
o
mf
gliss. b
ppp
mf
In, section B.
Example 67. Keep the Night
from Coming
D
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
gliss.
# o n
. . . for whispering
&different
<b>
b b
The
. . . b. b nvoice and singing voice. When
o indications
gliss. areo used
.gl. issboth
#b. n. . .
#
singing.
&
O
whispered singing through the flute produces clear distinctions of timbre (Manabe,nO
o mp
& p.9).3In the following example,
n
3
pb between
2008,
the
cho and cha became 3
p
o difference
mf
mp
wo
very
because the small
J
R
&
gliss.
gliss.
b
. . . . . . . .
E
o ppp mf. . . . . . . pp.
o ppp mf
o ppp mf
mf
pp
mf
Kr
j >
j
&
b>
b>
>
>
> b> >
> > >
&
> > > >
&
mf
j
>
cho
to
>
o
p
>
cho
cho
&
mf
j
>
>
cho
>
cha
cha
>
cha
cho
> b> j j
> >
3. Keep the Night from Comingf In: the>seven sections
3.1.&
Section
A
to - to - to - to - to - to
>
cho
>
cho
>
cho
Kr
>Copyright
> 2013
> STENBERG
> > > >
LISA
>
j
>
cho
j
>
cho
j
>
cho
cho
cho
woh!
j
>
>
cho
In the first section of Keep the Night from Coming In, the flutists voice is first used
as whispered or unvoiced, always mixed with the air sound of the flute. In the first
w.t
gesture of the . piece
whisper the. syllable
to with closed
w.t
w.t the flutist
. should
b
o
F
b sound.
embouchure (inside the embouchure hole), creating an articulated but muffled
J mixed with
# the air sound
The&
result is an Jexplosive but veryJdelicate whispered
sound,
b
of the flute.
pp
fz
fz
pp
fz
pp
&
Rubato
>
cho
cho
bw.t
pp
mf
fz
(q = 55)
G A
flz.
&
j
Flute &
p
>
mf
& >j
&
Voice
to
j #O n O # j# j O b n O
> > p
3>
pp
j
>
to
mf
mf
pp
j
>
to
flz.
46
&
&
>
to
o fz
mp
to
b
> > >
cho
to
j
>
mf
j
>
cho
mf
j
j
n O . O O
o mp o
>
>
mf
pp
pp
j
j
gliss. b
>
mf
gliss.
j
b
j
>
j
>
j
>
pp
pp
j j
> > O
mf
pp
j j O
>
>
mf
pp
pp
j
>
mf
j
> > >
the
j Later in the section the whisper voice became singing voice in octaves
j with
j flute
> line.
>
>
> >
to
flz.
jp
>
>
gliss.
pp
>
to
t - t - t - t - t - t - t - t
j
j flz. j
gliss
.
>
>
to
to
to
t - t - t - t - t - t - t -
LISA STENBERG
bj j j
j
mf
>
> >
to
gliss.
mf
to
j
b
p
j
>
j j
> >
to
to
chi
j
>
j
>
j
>
to
- o
j
j
extremely wide vibrato
>
>
>
flz.
>
b
FROM
COMING
IN
transition
between
o
- t - talso
- t - in
In
section,
t -the
#t- twhole
# #
t and
- t piece,
n the
airsounds
gliss. b to flute
s.b to
to
glistothis
mf
gliss. b
j
>
O
o
p
pj
>
to
O
j
. #
flz.
j p
j
j
>O O ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
o mp
gliss. b
#
n
. . . . .
>
> >
. . . .
>
.
ppp
mf
o
p
mf
. b n
. . bmf
pp
j
>
mf
b - no
chi
to
j
>
oj
> > >
to
to
gliss. b flz.
.
.
.
.
.
.
.
.
b mf j pp jmf j
O ppp
B #
b 3.2.#Section
>
> >
to
mp
po
gliss.
gliss.
pp mf
to
#
mp
ppp
mf
o
p
gliss.
gliss.
mf
mf
mf
R
o ppp mf
o
gliss.
p
flz.
# #
ppp
o
p
mf
.
b. n. . . . . .
ppp
ppp
#mf
mp
mf
n
o o
b. n. .
o# ppp o
mp
gliss.
gliss.
mf
ppp
mf
t - t - t - t - t - t - t - t
ppp
mf
.gliss.
. . . . b o
Opp
LISA STENBERG
gliss.
wo
rato
mf
47
mf
mf
mp
>
cha
>
>
cho
>
cho
>
cho
cho
Kr
> > >
>
cho
to
to
j
>
to
woh!
j
>
cho
cho
cho
woh!
cho
cho
cho
woh!
>
an extended
technique
>
> is used in a way >to create a>sound effect
> similar to the use of
mf
the flutists voice. In section C the multiphonics
create a sound very close to singing
and playing. The multiphonics sound result makes the listener asks Is it flute or
j
j In section
j has also a reminiscent character of the
j
whistle tone
F the
>voice> sound?
>
> that could> be produced
> > with the lips.
voice. It works like a very delicate whistle
>
cho
cha
b>
>
>
>
p -
cho
The
inw.t
octaves with the flute. Different
w.t
voice. appears
bw.t only once in eachbsection,
oboth
o
nw
vowels are used for the voice, causing
a small
changeb
in the timbre. b
w.t
gliss. #
pp
fzglisbs.
# gliss. b b b o
#
o mp
o fz mf nO pp
pp
mf
j
>
>
>
cha
cha
glia
b b
>
>
cho
>
cho
>
cho
cho
j j
> >
Kr
> > >
>
cho
to
to
o #
nO j
o
j
mp
>3
b> >
j
>
to
woh!
ss.
Example 74. Keep the Night from Coming In, section G.
>
j j
b> 3.5. Section
>
> >E
f
>
>
cho
cho
cho
.
J
pp
j
>
j
n>
j
>
woh!
p - to
b n
>
w.t
>
j
j
j to more explosive ones.
richness
j
>
mf
pp
mf
mp
K
> b> b n n > b> . ro o
> >
> > >mp>
p
cha
fz
b
#j
>
mp
cho
j
>
j
#>
woh!
cho
rK
b>
> > >
. bw.t > > > >
cho
>
>
cho
cho
>
cho
Kr
> #
>
cho
cho
to
to
to
b
o
j j
> >
w.t
cho
oj
b>
woh!
mp
fz
mf
fz
pp
j
>
b
> > >
j
>
>
mf
>
>
48
cho
b
j
>
woh!
pp
cho
p - to
fz
b n
nw
w.t
p - to
pp
t - ko
j
>
j
>
mf
pp
4. Collaboration
4.1 Introduction
The physical distance marked the whole process of collaboration. We had to develop
our own way of interacting: Lisa Stenberg, in Stockholm, and me, in Pite. We met in
person four times, the first in a cafeteria where we exchanged thoughts and ideas. The
others three were very intense instrumental sessions (which I named Experimentation
Sessions) where we exchanged many ideas and Lisa gathered sound samples from
my playing. Recordings of these sessions were used by Lisa as compositional material.
After these three sessions, the rest of our conversations took place by email in a
cyclical process. She sent me sketches, I practiced and recorded myself playing, I sent
back the material with comments and new ideas, and she sent feedback and more
sketches.
The focus in this section will be the discussion of the collaboration process from
November 2012 to April 2013, making clear that the collaboration around Keep The
Night from Coming In is still in progress.
4.2. Patterns of collaborations
I will here return to the models of collaboration of John-Steiner (2000) and Hayden
and Windsor (2007). As in the discussion around my collaboration with Olle
Sundstrm, the intent here is only to dialogue with these theories, not reduce the
experience.
Looking back to John-Steiners four patterns of artistic collaboration: My
collaboration with Lisa Stenberg was mainly a Complementary collaboration but
with strong elements of Integrative.
It was mainly a Complementary collaboration because, as in the collaboration with
Olle Sundstrm, it was based on complementary knowledge. I still had the role of
performer and she, of composer. But the process still involved Integrative
collaboration.
Lisa Stenberg had not had any previous experience of writing for the flutists voice.
She was very interested in discovering and experimenting with this technique. In the
first experimentation session we had, she first asked me: What do you like to do on
the flute? This question directed the partnership in a way that I became very active in
providing compositional ideas.
The strongest mark of the Integrative mode is the form of the score: an open score.
Keep The Night from Coming In allows any flutist, not only myself, to be active in the
compositional process. Choosing different ways of combining the seven sections of
the piece requires active reflections on musical form, meaning and direction. Each
performance of Keep The Night from Coming In can be different and may involve a
very personal way of playing it.
49
Using the categories proposed by Hayden and Windsor (2007), my collaboration with
Lisa Stenberg can be considered a mix between Interactive and Collaborative.
Interactive because it involved negotiation between composer and performer, but the
composer is still the author of the piece. Collaborative because the collaboration
affected the structure of the score. The score is open; consequently the structure of the
piece is decided through collective decision, as both composer and performer have a
very active role in it.
4.3. Examples of negotiation during the collaboration
Lisa Stenberg showed great interest in my personal ideas not only of using the
flutists voice but also other effects that I liked to play. As the process of
experimentation was long, I could trace more easily the direct influence I had on the
piece.
The first example of my contribution to the piece doesnt concern the use of the voice.
At the same time it is a very clear example of my input. I enjoy very much the whistle
tone technique. To practice this technique I like to use one of Robert Dicks exercises:
D
o gliss. o gliss. #
O
&
O
3
3
p
o
mf
&
b
gliss.
mp
gliss.
b b o
#
nO
o
3
mp
j j
> >
Kr
j > b
b
& j
>
> b> >
> > >
> > > >
>
>
>
Example 76. Whistle tones exercise (Dick, 1986, p.27).
&
mf
j
>
>
>
j
>
>
>
>
>
>
>
>
Kr
> > >
>
j
>
j
>
In this exercise a loud normal tone is produced in the third octave of the flute, and just
echo.
mysterious
When
Lisa asked me to play
I liked, one
of the
>
>
>
> that. We can see it
> in the
> piece, also combined
f
first effects I showed her
was> exactly
mf
with harmonics, resulting
in
very
contrasting
colors
for
the
same
tone.
j
j
j
&
&
cho
cho
cho
cho
cha
>
to - to - to - to - to - to
F
fz
. w.t
J
pp
cho
fz
cha
>
cho
. w.t
J
pp
cha
>
cho
>
cho
>
cho
wo!
w.t
. b
J
fz
&
cho
b
o fz
cho
>
cho
#
o mp
pp
cho
>
>
cho
cho
>
cho
o
b
mf
to
&
mf
to
wo!
wo!
cho
bw.t
pp
n
Copyright 2013 LISA STENBERG
p - to
o
b
mf
nw
w.t
pp
pp
fz
#
o mp
p - to
>
cho
G flz.
# n b # #
.
&
b n n
50
p
p
3
to
voice,
Another example of my input,
, this time related to ,the use of the flutists
Im
concerns the use of vowels.
flz.
very interested in using vowels to change the color of
subtle
j sound.
j Using
jcombined
O or not
the
different
vowels
consonants, allows
O
O
O with
>variations> in tone
Rubato
q = 55
Flute
Voice
&
j
j
of articulation.
sketches,
the
voice
line
>
>
> had a t as indication
,
,
j j j O
j
j j
& KEEP
O COMING
gliss.bTHE
n> NIGHT
> FROM
> > > INO
t
&
j
b
j j
n>
>
pp
j j j
>
> >
O O.
o mp
t-t-t-t-t-t-t-t
flz.
O O #O n
are glis
sung
unvoiced, the timbre is>richer
>As when
>>nsinging
. b than> innormal
& p mf
>bvowels
or
s. pp
p with
pp
p
mf sample with different
.
n
.
.
.
.
.
.
.
.
.
normal
flute
playing,
I
recorded
a
sound
vowels
combined
.
>
gliss.
,
O j
<>
& gliss. j j
b
>
ad lib. t,k....
&
chi
oo
pp I suggested
mp
ppp
mf
the t: ta, te,mf
ti, to, tu.
to the
j to listen
j the subtle changes
composer
of color and to use them in the piece. As a reflection
> of this discussion,
> > the
>n t asto
is found
inKeep
The Night from Coming In.
to b to
to
to
t
t
t - t - t - t - t - t
& j
>
j
b
j
>
j
>
pp
j
>
w.t
j
>
j
>
t- t - t - t
ad lib. t,k....
j j
> >
j j
> >
molto
to
to
chi - o
, to . to , . bw.t
to
. Example
vibrato vibrato
o
,
79. Keep The Night From Coming In, Section A. n
ord.
J
J
J wide vibrato#
#
n
extremely
&
One strong characteristic
of the final score is the richness
O of combinations between
flz.
pp vowels
fz
fz
pp
fz and consonants.
pp
b
b
Another important performer-composer dialogue centered on the different
gliss.
w.t
&
mf
3
f
(open, half-opened) their possibilities and how
tomfclarify the
p embouchure techniques
mf
ppp
gliss. b
w.t ,
w.t ,
o
o
b
b n op
o gliss. #
molto vib.
mf
n
5. Reflections
#
b
b
& O
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
pp
pp
The
collaboration
with
Lisa
Stenberg
can
be
considered
a
rewarding
that
o
o
o
o
3
. mp ppp experience
mp fz #
mf
fz mf
p
mf
.
.
mf
ppp
mf
o
composition. Keep The Night from Coming In reflects the collaborative nature
of its
composition process, especially by its structure as an open score.
.gliss.
. . . .
mp
51
o
p
The long process of experimentation led to a bigger exchange of ideas but prevented
the project from being fulfilled according to schedule. The aspect of practicing Keep
The Night from Coming In couldnt be explored deeply for the simple reason that the
piece was finished at the same time as this text was first written. But I dont see it as a
negative situation, rather as part of the collaboration process.
52
Old Game
1. Introduction
Old Game is an etude for flute and flutists voice written by me in the context of this
research. Composing this etude was not my initial intention, but it grew as an idea
during the process of collaborating with composers. Finally it became one of my
methods of investigation, in order to explore more thoroughly and to better
understand the use of the voice while playing.
From a musicians perspective, Roe (2007) discusses the benefits of collaboration in
musicians practice. I had the privilege to work during almost a year with two
committed composers that stimulated and inspired me to explore the use of my voice
while playing. During the rehearsals and experimentation sessions there were lots of
possibilities and sound material that were not used by the composers; it is of course
impossible to use everything we tried or discovered.
In this chapter I will present Old Game, with its various aspects of using the flutists
voice, and reflect on the creative process of writing this unusual type of etude. Old
Game is written for flutists that have an interest in exploring their own voice while
playing. The etude covers many of the possibilities mentioned in this thesis. It is a
small example of creative audacity that I hope it can serve to inspire others to be more
creative in their own performance. This experience points to an attempt to connect the
distinct categories that are very well established in Western classical music:
composer-researcher-performer. It also reveals that collaboration between composer
and performer affects the practice of musicians and provides an important creative
stimulus for the performer.
53
54
Endgame, by Samuel Beckett, is a one-act play with four characters, written in a style
associated with the Theatre of the Absurd. It was originally written in French
(original
title:
Fin
de
partie) and translated into English by Beckett himself. The play
was first performed in a French-language production at the Royal Court Theatre in
London, opening on 3 April 1957. It is commonly considered, along with such works
as Waiting for Godot, to be among Beckett's most important works. The title alludes
to the last part of a chess game, when there are very few pieces left. Beckett himself
was an avid chess player.
I chose three small excerpts from Becketts play, which seemed to me to have great
musical and expressive potential. Later in this chapter, Ill explain how I used the text
as material for the etude.
First excerpt (2006, p.93):
Finished, it's finished, nearly finished, it must be nearly finished.
(Pause.)
Grain upon grain, one by one, and one day, suddenly, there's a heap, a little heap, the impossible heap.
(Pause.)
I can't be punished any more.
(Pause.)
I'll go now to my kitchen, ten feet by ten feet by ten feet, and wait for him to whistle me.
(Pause.)
Nice dimensions, nice proportions, I'll lean on the table, and look at the wall, and wait for him to
whistle me.
55
The f from the word finished has a great airy potential that makes this phoneme
perfect for whispering voice. I tried different pitches and the Db2 turned out to be a
good solution for making a powerful air attack:
Example
81. Old Game, bar 1.
I wanted
to put
an emphasis
on speaking/whispering
and playing, exploring
technique
with and
without
instrument
on
lips.
this
- Example
without instrument on lips:
of speaking/whispering
$ $
$ $
!
$ $
Example 82.
Old
Game,
bar
3.
!
- Example of speaking/whispering with instrument on lips
"
"
$ $
%
#
#
In another part of the etude, I explore speaking and playing alternately. This passage
requires
The flute should be kept in the
from
the
flutist
focus
on
the
embouchure.
playing
position
in order
not tolose the continuity
of the phrase.
56
,+
*+
-
the rhythm
The
etude
of the text is written down, as well as
of
4. The use
the flutists
voice: Singing and playing
As singing and playing was
in Floating
the
explore
main focus
and beautifully
Embers, by Olle Sundstrm. I chose to use this technique with a different focus: the
and flute lines.
between voice
different timbres
and balances
First
used
this technique
in its most simple
singing
one tone in
$ $
$ $
(
way:
and playing
I
octaves. Here the voice should blend with the flute sound, very softly, as a sweet
perturbation.
(
$
Example
85.
Old Game, bar 7.
Later on, singing and playing
in
octaves
return,
and gradually
go
from one note to
will
a whole
phrase.
Is
this
passages
the
voice
should
be
very
soft,
a
color
blending
with
the flute sound.
$ $
%
(
57
)
Another way of exploring the singing voice is to sing in very close intervals with lots
of power and air pressure. This technique results in very fast beatings between the
voice and the flute sound and creates a very dramatic result. In the following passage
I explore that tension in order to create a very intense passage where the flute line has
$
repeated notes and the voice goes slowly from octave to unison to a minor second.
Here the voice should increase in dynamics and the flutist should enjoy the dirty noisy
sound that comes from the fast beatings.
#
Extended flute
techniques
that appear in Old Game were briefly introduced in
previous chapters. Here I will just illustrate and reflect around my choice to use them
in the context of this etude.
The choice of using whistle tones came directly from Samuel Becketts text. The
whistleand whistling are thematic
in Endgame. This inspired me to play with the text
and
contrast
the
one
most
delicate
sound that
flute can produce
the
(whistle tone)
with a very aggressive fast sound in the flutes third octave.
,
,
/
$
58
!
"
#
Once I used the whistle tone as a whistle call in the beginning of the etude, it
became a thematic material that appears in other moments of the piece as
reminiscence of the whistle call. Because of its very delicate and ethereal nature,
the whistle tone can be represented in this etude by the idea of not being sure if
someone is really whistling or if we are just imagining it. It relates to the
psychological tension of Becketts Endgame.
5.2 Key click sounds: Lets do something with the flute when its not on the lips
In Old Game, key sounds appear only in one passage, to illustrate Samuel Becketts
text: Grain upon grain, one by one, and one day, suddenly, there's a heap, a little
heap, the impossible heap. (Beckett, 2006, p.93)
The key sounds are used as small grains that, through accelerando and crescendo,
help the flutist to increase the tension of the text. The first passage of the text in the
beginning of the piece is quite long; it was fun for me to use these clichs illustrating
sounds.
5.3 Timbral trills: Disturb the sound kindly
In this etude, timbral trills and singing and playing softly a tone in unison resulted in a
very similar sound. Both produce small changes in the intonation and fast vibrations
of the air. Both create a confusing effect for the listener who is expecting a nice clean
flute sound. In Old Game I wanted to use these effects as a surprising moan disturbing
a common melodic flute line.
59
5.4. Discovering
new effects: a tone appears!
)
bar 36.
Example 89. Old Game,
In this example, when I was practicing the voice glissando, I discovered that the
octave)
interval
the voice
(an
between
and the flute tone resulted in a three-voice
chord (Eb B Eb). The tone colour of the resulting B is very strange, like a groan.
This multiphonic exists in flute methods but with flute tone for all three sounds. The
voice singing the ground note results in a very different colour.
5.5. From sh to s: dont speak, dont sing, venture into strange sounds
,
,
/
This airy shand s and other kinds of sounds that arent speaking or singing were
detailed in Chapter 4. I used air sounds changing from sh to s for two main reasons.
#
First, sounds that are not described in flute methods can be very interesting: groans,
whispers.
sounds used to express the need to be
grunts,
Sh or s
are common
silent: shhh, silence. No more words. A clich that I wanted to put in the etude to
give
it a certain pedantic character but also because unvoiced airy sounds work very
well on the flute.
60
Challenge: To find a good
in the f sound of the word finished and to
air
pressure
make the word understandable even
if its whispered.
Practice Tips:
a lot
of air pressure in the attack of the f, slowly take
Exaggerate,put
out the pressure until the balance sounds satisfactory. Also start practicing in a louder
voice,
almost speaking. The volume of the whispering voice will depend a lot on the
room
where
or performing.
theflutist is practicing
!
,
,
"
/
Challenge:
Here the great challenge
for me was to speak a text with aclear
#
articulation and expression. The flutist doesnt need to act while speaking
but the text
should be spoken
with
expressivity
and
direction.
Another
challenge,
specific
for me
and for those #
61
(
videos
of
Practice
the staging of Endgame by Samuel Beckett and
I watched
Tips:
learned
the
in order
text by
heart
to make it sound more spontaneous and natural.
6.3. Singing one tone
octave
"
$
$ $
$ $
$ $
Challenge:
In the case of this etude the voice should blend softly with the flute sound.
way of using the voice where the flutist should just
Itsa comfortable
Tips:
Practice
that
has
the flute tone. Dont try to
effect
disturbing
the voice
enjoythe
when
it meets
finda beautiful
clean tone.
$ $
)
6.4. Whispering and playing in rhythmical passages
%
words, with expression, not rigid. (Old Game, bar 8,10, 55, 56 and 57)
Practice Tips: The flutist should practice the synchronisation of the fingers with the
& ' "
whispering voice. Keep the continuity of the air stream.
62
$
#
*+
,+
-
)
is the easiest way of singing and playing two distinct lines. Blend the
Challenge:
This
voice with the flute sound. Keep a nice flute legato. (Old Game, bar 35 and 36)
Practice Tips: Practice only the flute line first, and then add the voice softly.
#
$
Challenge: The peculiar challenge of this passage concerns the singing voice. The
with
softly
a delicate
flutist
should
voice and increase the air pressure in each bar
start
the
until reaching the unison. When
voice
and the
flute
sound
meet
at the tone D, the
flutist should sing as loudly
as possible to create a maximum of vibration between the
two sounds.
Practice
between each bar, paying attention to the comfort of
Tips: Take goodbreaths
the vocal cords. Practice this
passage in small doses. The flutist doesnt need to focus
* . (
so much on the intonation of each interval, but rather on producing a tense and
groaning sound.
,
,
/
63
,
,
6.7. Singing and playing: the last passage its finished?
/
$
Challenge: To find a focus for the flute tone in the low register and sing with a
stronger voice than in the other passages in the etude. Here the melodic movement of
the voice is important. The tones A and Bb should be well intoned. The focus should
be on the balance between the flute sound and the voice.
Practice Tips: To find the right pitch, focus on the tones A and Bb that come in the
flute part in the previous bar. First concentrate on finding the tone with the voice (the
flute has air sound, so the flutist can focus only on the voice); then it becomes easy to
find a balance between the lines. Keep the airflow continuous even if there are strong
beatings. Enjoy the last glissando when the voice meets the last unison.
7. Reflections
This etude represents for me a concrete result of this research process. It synthesises
the several different aspects of the use of the flutist's voice found in literature studies.
It also represents my reflexion around the use of the voice after collaborating with
two different composers. Old Game is the result of a creative artistic work, the
findings of this research are applied in practice. It has an emphasis on the speaking
voice of the flutist, because it was a technique not really explored by Lisa Stenberg
or Olle Sundstrm.
I strongly hope that this etude may serve as inspiration for other performers to
experiment with new music and new technical possibilities for their instrument. The
creative processes of systematising and writing down ideas had for me great benefits.
It increased my motivation to explore new techniques and my intimacy with my own
instrument, and it helped me develop a clear and consistent notation of a non-usual
flute technique.
64
65
Discussion
1. Introduction
This last chapter will return to the questions that guided this research and reflect
around the path taken during the entire process. The point of departure was a very
specific extended technique: the use of the flutists voice while playing. During the
research the subject branched off into a diversity of subjects, such as other extended
flute techniques, patterns of artistic collaborations and composition.
One single technique was the start of a one-year journey in the life of a performer. Its
interesting to remember that I didnt have a deep contact with using my voice while
playing, although I was interested enough to suggest to composers the use of that
technique as a central focus for new works. This research allowed me to be an active
part of the compositional process of three new pieces for flute. I learned this new
repertoire from a different perspective than the usual learning process, experimenting
and participating in each step of the compositional process. As a performer and a
researcher I gained insights into the creative process of collaborating with others
musicians and my creative process of writing, which encouraged me to reflect on my
own creative practice.
66
67
used because the theme of the piece is precisely to explore the borderlands between
one category and other. However, the whispered voice is the most recurrent. The
singing voice of the flutist is also explored but always in parallel movement with the
flute line, which doesnt present the same complexity as in Floating Embers.
Practicing Keep the Night From Coming In clarifies the use of the whispering voice,
of the richness of timbres produced by different vowel combinations. It requires from
the flutist to learn the transition between open, half-open, and closed in a very musical
and delicate way.
2.3. Old Game and the speaking voice
The process of writing the etude, Old Game, was grounded in two main goals. First, I
had the curiosity to try to systematize my own ideas of using the flutists voice in
ways that werent used in Floating Embers or Keep the Night From Coming In.
Second, I had the idea that it could be a very interesting result for the thesis if the
pieces resulting from the collaboration could give a general overview of the main
possibilities of using the flutists voice. For this goal I wrote Old Game trying to fill
small gaps, using aspects of the flutists voice that werent covered by the
collaboration with Lisa Stenberg and Olle Sundstrm. The speaking voice was
intentionally chosen as the main technique in Old Game for the reason that it wasnt
explored in the two collaborations. With the etude and the two other pieces, it was
possible to cover the main aspects of the use of the flutists voice. The etude contains
others possibilities, such as singing or whispering, but the speaking voice is the aspect
that stands out. In Chapter 5, it is possible to find practice tips for all the different uses
of the voice presented in the etude.
2.4. Practicing my own voice while playing
In this section I will describe in an intuitive way the benefits and challenges that the
practice of this technique have had on my musical development. It should be clear
that these are impressions, because its impossible to separate the effects of practicing
my voice while playing from all other techniques I use in my daily practice. The
contact with my own voice while playing helped me to develop a large range of color,
dynamics and projection. I think that this development is directly related to the effort
that the inner ear has to make to be able to produce subtle nuances with the voice or
polyphonic lines.
Another point that I would like to discuss concerns the problems of practicing
techniques that require the use of the voice simultaneously with playing. Unless the
flutist is a trained singer, the vocal cords can be strained easily when singing and
playing simultaneously. The air speed should be determined by the comfort of the
vocal cords. This technique should be slowly introduced into the daily practice,
always paying attention to the comfort of the vocal cords and the tension of the
outside neck muscles. Practicing too much singing while playing can make the vocal
chords really tired. Robert Dick (1986, p.10) recommends starting at first with one or
two minutes a day.
68
Ive been practicing singing and playing daily for almost one year now and I havent
experienced any side effect, only a feeling of tiredness in the vocal cords sometimes,
if I practice too much. But of course this was my personal experience with the
technique. Each flutist should be aware of the limits of his/her own body and respect
them. Its important to highlight that I had lessons with a classical singing teacher for
one year and I learned many of the vocal warm up exercises. Im used to warm up my
voice almost everyday, and I would recommend this to other musicians.
In general, great benefits can result from the practice of new techniques such as using
the voice while playing, just through the fact that it takes us from our usual way of
playing. Using the voice is entering a world totally different from that of just playing,
and the friction caused by new elements always pushes us to discover new
possibilities.
3. Collaboration: the outcomes
3.1. The special agencies in musical collaboration
The development of musical notation has resulted in a division of the musician in two.
The increasing division of labour has gradually increased the split into the distinct
agencies of composer and performer (stersj, 2008, p. 51 and p. 375).
In the context of Western art music, the agency of the composer involves the
construction of musical works and the agency of the performer rests on highly
developed skills in the performance of a certain instrument.
stersj (2008, p.49) argues that the instrument is not a neutral tool in the projection
of a musical idea. On the contrary, the instrument should be understood as a distinct
agent in the creative process. This research and the three pieces forming its outcome
reinforce this argument. The flute emerged as a separate agent and its specific quality
of allowing the performer to use her / his voice was the point of departure of this
project. stersj comments on Aden Evens work (2005), where the interaction
between the performer and his/her instrument is described in terms of the resistance
of the instrument.
Castello Branco (2012, p.66) suggests another aspect of agency in performercomposer collaboration: the performers body. In the case of this research: the body
as the voice. In the pieces written in the context of this research my voice
distinguished itself as a separate agent: its color, range, technical limits, all its
characteristics shaped Floating Embers, Keep The Night From Coming In and Old
Game. This leads to a question: can a flutist with a low voice perform these pieces?
Olle Sundstrm answered that it could be possible, but it would be a completely new
piece. In Lisa Stenbergs piece, a low voice would change the delicate atmosphere
created by the unisons, and in Old Game, it would take away some of the musical
tension from certain sections of the piece. As a result we have three pieces shaped to
my voice, a female voice. It is still possible to make adjustments for a low voice in the
score, and this subject can be a next step to continue my research into the use of the
flutists voice through collaboration.
69
In summary, besides the agencies of the composer and the performer, in this project
we could distinguish two more in the creative process: those of the flute (the
instrument) and the voice (the body).
3.2. Collaboration across generations
John-Steiner (2000, p.151) considered the mode of collaboration across generations
especially common in music. This mode involves mentoring and transformation from
mentorship to collegiality. John-Steiner refers for example to the chain bonds between
Nadia Boulanger and Aaron Copland, then between Copland and Bernstein (2000, p.
159).
Although John-Steiner considered across generations a very common pattern of
collaborative work in the musical field, my experience in collaboration with
composers were only between members of my own generation. The reason can be that
in a student context it is natural to develop partnership with other students but I also
notice that young composers of my generation are very open and interested in what a
performer can bring. I didnt have this discussion with Lisa Stenberg or Olle
Sundstrm, but with several composers I worked with. They are born in the computer
editing programs era where, in theory, you dont need a performer to test sketches or
pieces because you have sound samples that make it possible to dispense real
musicians. But many composers that collaborated with me had experienced the gap
between the computer sounds and real instrumental possibilities, especially when it
comes to explore new sonorities. A computer cannot collaborate. I believe that many
young composers are looking forward to participate in projects like this.
3.3. The musical collaboration composer-performer: What is in between
Collaborative and Integrative?
Roe (2007, p. 206), in his artistic research into collaboration with five different
composers, concludes that his collaborations demonstrated characteristics of a
Complementary mode (collaboration based on complementary knowledge, clear
roles, and willingness to engage collectivity) with traces of Integrative patterns such
as risk-taking, shared creative vision. His conclusion is that in order to achieve a true
Integrative collaboration, a longer and more intense period of activity will be
required.
According to stersj (2008, p. 378), its difficult to imagine a fully Integrative
mode of collaboration as proposed by John-Steiner in the case of a composer and a
performer in Western music tradition. In order for the collaborative work between
performer and composer to reach a level of integrated creative work, a serious
reconsideration of the respective practices of the two agents is needed.
The clarinettist Paul Roe (2007) and the guitarist Stefan stersj (2008) discuss the
need of a specific framework for the analysis of collaborative work in field of music,
as the results of their research into collaboration also lead to the field between
Complementary and Integrative modes of work.
70
I also believe that new frameworks are needed in order capture the richness that exists
in this in between collaborative and integrative, in the divided labour, the limited
musician. During this project I realized that the input that a performer can have in a
collaborative process is hard to catch. And even small exchanges of ideas can bloom
into a marvellous new piece of music.
Figure 11. Marina Cyrino and Josefine Gellwar Madsen performing Floating Embers, Pite, 2012.
4. Final reflections
The outcomes of this research are many. The palpable ones are: three new pieces for
the flute repertoire focusing on one very interesting technique, audio recordings of the
pieces and a written thesis.
In addition, during this two-year journey an enormous amount of intangible outcomes
resulted from this process. As a musician I walked the path of practice, performance,
composition and research. The technical advances that I incorporated in my flute
playing are evident: I learned deeply a new technique not only in growing accustomed
71
to using my voice while playing but also a theoretical knowledge that has enriched
myself as a musician. I had the opportunity to be active and discuss one of my
favorite aspects of being a musician: to collaborate with composers. In addition, I
have experienced a great creative stimulus that resulted in my first piece for solo flute.
But of course I believe that my gains can also be shared with the general community
of flutists, musicians and all persons interested in new techniques for flute and
collaboration as a working method. I hope that through my text and reflections I could
express my gratitude to the composers, teachers and musicians that worked with me
during this project.
Figure 12. Josefine Gellwar Madsen, Marina Cyrino and Olle Sundstrms arm. First rehearsal of
Floating Embers. Learning how to be an action researcher: a little problem with the camera framing,
Pite, 2012.
72
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CD Recordings
Chase, Claire Flute Recital: SAARIAHO, K. / DONATONI, F. / CARTER, E. /
BOULEZ, P. / FUJIKARA, D. (Terrestre). Label: New Focus Recordings Catalogue
No.: FCR122
FERNEYHOUGH, B.: Flute Music (Bjarnason). Label: Bridge Records
Catalogue No.: BCD9120
Mller, Mats, Flute Recital: - DEBUSSY, C. / VARESE, E. / JOLIVET, A. / BACK,
S. -E. / SCELSI, G. / BERIO, L. / ROSENBERG, H. (Solo per Flauto). Label: SFZ
Music Catalogue No.: SFZ2001
SAARIAHO, K.: Laconisme de l'aile / L'Aile du songe / PERSE, S.-J.: Oiseaux
(Saraste). Label: Montaigne Catalogue No.: MO782154
SAARIAHO, K.: Verblendungen / Jardin secret I / NoaNoa. Label: BIS
Catalogue No.: BIS-CD-307
SAARIAHO, K.: Cello Music (Descharmes). Label: aeon
Catalogue No.: AECD0637
YouTube Links:
Claire Chase (flutist from ICE International Contemporary Ensemble) rehearsing
Jason Eckards 16. (accessed May 3, 2013)
http://www.youtube.com/watch?v=ArK2EE1cHdc
ICE (International Contemporary Ensemble) performs Saariahos Terrestre. (accessed
May 3, 2013)
http://www.youtube.com/watch?v=NEnd0RecpGg&feature=endscreen&NR=1
Robert Dicks Throat Tune Lesson. (accessed May 3, 2013)
http://www.youtube.com/watch?v=FCxXc5p96YA
Samuel Becketts End Game, directed by Conor McPherson. Blue Angel films LTD.
(accessed May 3, 2013)
http://www.youtube.com/watch?v=gB89e4VynP4
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Appendix
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