Connexions module: m14070

Extended Techniques for Flute:

Alternate Sonorities - John
McMurtery

Patricia Gray
This work is produced by The Connexions Project and licensed under the
Creative Commons Attribution License

Abstract
This module contains video, scores, and text related to extended techniques for ute in contemporary
literature.

John McMurtery Website

1 Microtones Ex. 1

Play Movie
Third-octave quarter-tone scale
Microtones are intervals smaller than a half-step, the most common of which are quarter-tones. I have
included a demonstration of a third-octave quarter-tone scale to illustrate the extremely close distances
between pitches. The execution of quarter tones requires the performer to either employ a dierent ngering
or bend the pitch up or down with the embouchure. Because the standard Boehm-system ute was developed
in the 1840s and obviously not designed for microtones, the articial ngerings involved will produce dierent
(often muted) timbres that are sometimes radically dierent from the surrounding semitones.
2

2 Microtones Ex. 2

Play Movie
Brian Ferneyhough, Carceri d'Invenzione IIb
(m. 148-153)
Microtones are intervals smaller than a half-step, the most common of which are quarter-tones. I have
included a demonstration of a third-octave quarter-tone scale to illustrate the extremely close distances
between pitches. The execution of quarter tones requires the performer to either employ a dierent ngering
or bend the pitch up or down with the embouchure. Because the standard Boehm-system ute was developed
in the 1840s and obviously not designed for microtones, the articial ngerings involved will produce dierent
(often muted) timbres that are sometimes radically dierent from the surrounding semitones. The creative
3

Version

1.1: Oct 21, 2006 1:46 pm GMT-5

http://creativecommons.org/licenses/by/2.0/

1 http://www.johnmcmurtery.com
2 http://www.johnmcmurtery.com/ET/QT/ASm1.mov
3 http://www.johnmcmurtery.com/ET/QT/ASm2.mov

http://cnx.org/content/m14070/1.1/

Connexions module: m14070

composer will use these timbral dierences to underscore musical ideas. For example, Brian Ferneyhough's
eective use of quarter tones and other microtones creates this haunting passage from his Carceri d'Invenzione
IIb (The Dungeons of Invention).
3 Hollow Tones

Play Movie
Edward Taylor, Voices in the Night (VIII:5-6)
4

Figure 1

Hollow tones are notes of decreased resonance, produced by special ngerings. They work best in soft
dynamics, in the rst octave of the ute, and yield a tone color akin to that of primitive instruments. Because
hollow-tone ngerings are quite complex, producing a very special sonority, the eect works beautifully in
soft, sustained passages. The following excerpt from Taylor's Voices in the Night illustrates a successful use
of hollow tones (notated H.T.).
4 Air Sounds Ex. 1

Play Movie
Brian Ferneyhough, Carceri d'Invenzione IIb (m. 10)
Air sounds are produced by aiming a diuse air stream above the embouchure hole. Dierent sounds are
possible, from a gentle "whoosh" to a harsh "hiss." The ngered pitch is discernible in each case. While
second- and third-octave air sounds are possible, the most eective notes are in the lowest register. Brian
Ferneyhough combines air sounds with regular pitches in Carceri d'Invenzione IIb. He uses open, diamondshaped note heads to indicate their use. This symbol is not necessarily the standard notation for this
technique, however; writing an explanatory note in the score or in the preface will alleviate any doubt about
the composer's intention.
5

4 http://www.johnmcmurtery.com/ET/QT/ASht.mov
5 http://www.johnmcmurtery.com/ET/QT/ASas1.mov

http://cnx.org/content/m14070/1.1/

Connexions module: m14070

5 Air Sounds Ex. 2

Play Movie
Brian Ferneyhough, Carceri d'Invenzione IIb (m. 29)
Air sounds are produced by aiming a diuse air stream above the embouchure hole. Dierent sounds are
possible, from a gentle "whoosh" to a harsh "hiss." The ngered pitch is discernible in each case. While
second- and third-octave air sounds are possible, the most eective notes are in the lowest register. Brian
Ferneyhough combines air sounds with regular pitches in Carceri d'Invenzione IIb. He uses open, diamondshaped note heads to indicate their use. This symbol is not necessarily the standard notation for this
technique, however; writing an explanatory note in the score or in the preface will alleviate any doubt about
the composer's intention.
6

6 http://www.johnmcmurtery.com/ET/QT/ASas2.mov

http://cnx.org/content/m14070/1.1/