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Easing
Into Extended Technique:
Volume 5 Simultaneous Singing & Flute Playing
by composer/flutist Linda L. Holland
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The flute is unique
among wind instruments in that it is played without the embouchure
being closed tightly around a reed or pressed against a mouthpiece.
The open-mouth playing position of the flute makes it possible for
the player to vocalize while producing a tone on the instrument—to
simultaneously sing and play.
This unconventional technique presents interesting musical possibilities
and challenges for the flutist, and can benefit the player in a variety
of ways. On a physiological level, practice of simultaneous singing/playing
will enhance the flutist’s ability to control the muscles of
the throat used in playing.
In terms of general musicianship, the technique demands that the player
control two independent musical lines with respect to pitch, rhythm,
and volume—something many flutists have little experience with.
This technique is especially useful in developing the player’s
perception of intonation, particularly as it pertains to harmony.
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1) An introduction
to the technique of simultaneous singing and playing.
2) The American Patrol, a well-known march arranged to employ occasional
singing on two pitches.
3) Victimae Paschali Laudes, a medieval chant set in simultaneous
singing/playing at the interval of a perfect fifth.
4) Theme from New World Symphony, a melody from Dvorak’s famous
symphony employing both unison singing/playing and some contrapuntal
singing/playing.
5) Prelude in C Minor by Chopin, employing singing/playing with chromatic
harmony. This is an advanced piece.
6) Chant, an original composition employing both unison and harmony
singing/playing. |
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