Changing octaves on the flute: a survey of published opinions

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On the flute, there are several notes that have identical fingerings: each note from bottom-line E through third-space C-sharp has exactly the same fingering as the note an octave higher. Obviously, some factor other than fingerings must account for the octaves, but flutists as a group seem to be unclear on what it is.

I got curious and dug through some pedagogical sources to see what flutists have published about it. I have compiled my findings into a chart:

To achieve the upper octaves on the flute

I have started from the baseline of the lowest octave’s tone production methods, and framed the authors’ ideas in terms of what has to be done to move into higher octaves. And I’ve grouped the answers together as best I can, hopefully with reasonable accuracy as to the authors’ intended meanings. For example, “move jaw” and “move jaw forward” obviously overlap, but I separated them to try to maintain the authors’ original levels of specificity. And “jaw” and “chin” may really be the same thing for most flute-playing purposes, but I’ve separated in them in a case where the author seemed to see them as distinct.

Some of the authors address the issue specifically and in detail, while others just mention something in passing, so the chart does not necessarily represent their complete and definitive views. I have provided a bibliography with page numbers so you can read the authors’ words in context, and I highly recommend doing this if you’re interested in the topic. I’ve color-coded things so you can see at a glance which ideas are most popular, though I don’t think this is an issue to be settled by popular vote.

There are some surprising outliers. Most authors who mentioned the size of the aperture indicated that it should get smaller in the upper octaves, but a couple insisted that it should not change. Several authors indicated that the distance from the aperture to the blowing edge decreases for upper registers, but one said it actually increases. There’s significant disagreement on whether blowing harder is part of achieving the higher octaves.

I think some of the differences of opinion shown in the chart may be due to flutists actually doing the same things but describing them differently. It’s also possible that the techniques listed can be combined in different ways to create different tone production “recipes” that produce similar results.

I’m interested in continuing to expand this in the future. If you can point me toward a published source, then send it along (I’m not really interested in anecdotes or private opinions), or let me know if you think I have misread or misinterpreted someone’s views (especially if you’re the author!).

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Best practices for accidentals in online music writing, and introducing jQuery Accidentals

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In an ideal world, you see five musical symbols here:

flat natural sharp double-flat double-sharp
♭ ♮ ♯

But, depending on the device you are using to read this, you may notice one of these problems:

  • None of the symbols show up properly: they are either missing or replaced with squares, diamonds, question marks, or some other “placeholder” symbol.
  • The flat, natural, and sharp appear properly, but the double-sharp and double-flat are missing or placeholders.
  • The symbols don’t quite match each other—they appear as though they come from different fonts.

And for the blogger or other online writer, there is an additional problem: these characters aren’t easily typed from a keyboard. Using them means copy-and-pasting or remembering obscure numeric codes. And then you hope that your readers’ devices can display them.

So, for most situations, some kind of text substitution is made. Two styles are fairly common:

  • Spelling out the symbols in words, such as “A-flat.”
  • Using a “close-enough” character, such as “A#” (pound sign, number sign, or hash) or “Bb” (lower-case B).

Using words is my preferred method, since using “#” and “b” is semantically incorrect, garbles the meaning for non-visual browsing devices (such as screen readers for the blind), isn’t compatible with all fonts (such as those that don’t have a clearly-differentiated upper- and lowercase B), and can be ambiguous:

  • “Today I did my patented Ab Workout. It’s basically all the major and minor scales starting from Ab.”
  • “Today I did my patented Ab Workout. It’s basically a bunch of sit-ups.”

Thus, I recommend this usage: “A-flat,” “B-natural,” “C-sharp,” “D-double-sharp,” “E-double-flat.” Note the hyphens (with no spaces), and the lower-case accidental names (even for titles: Sonata in D-flat).

This solves the major issues of typing and reading the accidentals in an onscreen situation, but leaves us with a rather inelegant and typographically boring representation of the true musical symbols. This would be intolerable for print media, and, as screen text steadily replaces print text, a better solution is required. Here are some possible scenarios (warning—a little technical):

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Why do some instruments transpose?

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I find it difficult to explain to the uninitiated the concept of “transposing” instruments. The what is confusing. The why is worse.

To get the what across, I usually have to resort to an example: “Okay, so it works like this. If I am playing an alto saxophone, and I see an F-sharp on the page, I think ‘F-sharp,’ and do the correct fingering for F-sharp, and then I blow into the instrument and an A comes out.”

Sometimes a visual representation is useful (here are transpositions for some common woodwind instruments):

Instruments Written pitch Sounding pitch
Piccolo
Down an octave
Up an octave
Clarinet in E-flat
Down a m3
Up a m3
Flute, Oboe
(non-transposing)
Bassoon
(non-transposing)
Clarinet in B-flat, Soprano saxophone
Up a M2
Down a M2
Clarinet in A
Up a m3
Down a m3
Alto flute
Up a P4
Down a P4
English horn
Up a P5
Down a P5
Alto saxophone
Up a M6
Down a M6
Contrabassoon
Up an octave
Down an octave
Tenor saxophone, Bass clarinet
Up a M9
Down a M9
Baritone saxophone, Contrabass clarinet in E-flat
Up an octave and a M6
Down an octave and a M6

This system is, shall we say, “difficult:”

  • Composer/arranger/copyist: “What was that transposition for alto flute again? A fourth, I think, but was it a fourth down or a fourth up? Or was it a fifth?”
  • Conductor: “Let’s see, the alto saxophones have an E and a B, the tenor has a D-sharp, and the baritone has a D-natural. So that chord would be, um…”
  • Educator: “Okay, everybody play a B-flat scale. I mean, ‘concert’ B-flat. So C for clarinets and tenor saxophones, G for altos and baritones, E-flat for English horn… or is it F for English horn?…”
  • Gigging musician: “I need to buy the fakebook in E-flat. Hmm, and I guess I also need the B-flat, in case I play clarinet on anything. I wonder if I’ll need the C book for flute, too? Wait, let me make a phone call.”

(And that’s just the system used for the modern band and orchestral instruments!)

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Why college music education majors need applied study

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Most of my university students are music education majors, with plans to become public school band directors. Their academic schedules are absolutely packed full with core music theory and musicology classes, keyboard proficiency, teaching methods, ensembles, and of course general education requirements. There isn’t room for anything extra. And yet they are required to take “applied” private lessons on their major instrument every semester in residence (on paper, that’s seven semesters, with the eighth being a student teaching assignment; for many students it turns into more semesters than that). At my school, I think the requirements for the music education applied sequence are pretty typical: weekly 1-hour lessons, 12 or more hours of practice per week (that’s my studio requirement for music education students), a scale/arpeggio exam, juried playing exams each semester, and a small juried recital. That’s a pretty serious multi-year commitment for a student who is already swimming in term papers, exams, rehearsals, and probably a part-time job.

Photo, peffs

And it’s likely that many of them, once settled into jobs, won’t have much time to spend with their instruments anymore—they will be consumed with the endless details and crises of running a public school band program, and the ensemble itself will become their primary “instrument” for musical expression. Few of them will ever again perform solo repertoire.

So why put so much emphasis on applied study for music education undergraduates? Is it possible or wise to reduce the individual instrumental study burden? I don’t think so.

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“Piccolo Phil” on doubling

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“Piccolo Phil” over at The Balanced Flutist discusses the benefits and challenges of woodwind doubling in preparation for an upcoming gig. Benefits: I actually don’t mind doubling that much, it can be a nice change of pace, plus, show tunes are just so much fun! It’s been great exploring these instruments again, especially since I’ve been … Read more

New sound clips: Faculty woodwinds recital, Sep. 13, 2012

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Here are some sound clips from my faculty recital last month. I try to make a point of keeping myself challenged, and mission accomplished on this one.

The repertoire, selected collaboratively with my outstanding pianist colleague Dr. Kumiko Shimizu, was all pieces with some connection to jazz music. First up on the program was selected movements from Claude Bolling’s Suite for Flute and Jazz Piano. Flute isn’t part of my teaching assignment at Delta State, but this piece was too fun to pass up and my flutist colleague Dr. Shelley Collins is extraordinarily supportive of my flute playing. Since I spend most of my work week living in reed land, however, my flute chops don’t get the attention I would like, and I’m a bit self-conscious about my sound and my control of the instrument. I hear a number of things on the recording that I am less than satisfied with, but overall I think it went okay, and it was well received by the audience (even the part of the audience whose grade doesn’t depend on keeping me happy).

Next was a new-ish piece by young composer Alyssa Morris, a fellow BYU alum. I had heard her Four Personalities for oboe and piano performed by Nancy Ambrose King a few years back at an IDRS conference, and it immediately sprang to mind when I started brainstorming jazz-influenced oboe pieces. We performed the first two movements (second, then first), which, to our ears, had the strongest jazz elements. The first movement (performed second) in particular has characteristic swing rhythms and figures, and it was strange but fun to tackle those things on the oboe.

At the John Mack Oboe Camp over the summer, I heard a fine performance of this piece by the Oregon Symphony’s principal oboist, Martin Hebert. I also got some reed help from Linda Strommen (of Indiana University), which has greatly improved the pitch stability of my reeds. I’m pleased with the improvement over last year’s recital. I’m not sure I have entirely adapted tone-wise to the change, however, and I was a little surprised by my sound on the recording—to me, I don’t quite sound like me.

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On purple violins

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Photo, Glamhag

I’m a little late commenting on this, but I still think it’s an issue worth addressing. Last month there was a minor scandal over an incident in a Farmington, New Mexico school orchestra program, where a beginning violinist was informed that she would not be allowed to use her own, um, unique instrument. Most of the reporting on the story took a similar tone to that employed by the Los Angeles Times:

The gift violin was a surprise from her grandmother. The color was purple, the girl’s favorite.

Lopez encouraged her daughter to stand up for what she believed in. “I told her, ‘Camille, you’re not like everyone else. We’re all different.'”

“She’s done with the orchestra class,” Lopez said. “She switched out. She no longer plays.”

Lopez said she’ll never know whether the decision ended the career of a budding Yo-Yo Ma. “I’d pay for private lessons if I could afford them,” Lopez said. “But it doesn’t matter now, I guess. Camille is taking choir now.”

The Times story sets up the uninformed reader for outrage: an underprivileged but spunky girl, a gift from a grandmother, stifled individuality, personal “beliefs” under attack, abandoned dreams, and a stodgy, stuffy establishment.

But a more careful reading of the Times story reveals some details that won’t escape the attention of music educators.

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Review: Hercules DS538B woodwind stand

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After my recent glorious victory in the Saxquest trivia contest, I had a gift certificate burning a hole in my pocket and I decided to get a new stand to hold my saxophones and perhaps some other woodwinds in my office and on gigs.

I had been tempted previously by SaxRax stands, which I continue to hear good things about but haven’t been able to try out seriously in person. I find it difficult on SaxRax’s website to find out exactly what products they are currently making; I had to use their contact form and wait for a response to determine that their single alto and tenor stands can no longer be joined with a special connector, and the double flute-clarinet peg is no longer made (though some old stock are apparently still available). I had hoped to buy a single saxophone stand and eventually build onto it with a second, but now you have to buy a combo alto-tenor stand, and that is currently out of my price range.

Click for larger.

Next on my list were the stands by Hercules, which are more expensive than the various cheap stands but considerably less costly than the SaxRax. Hercules’s website is very clear about what products they make. I settled on the DS538B, which holds alto and tenor saxophones, and includes a soprano saxophone peg and two flute-or-clarinet pegs. Saxquest currently sells them for USD $69.95, plus a fairly steep shipping charge (the stand is a little heavy, I guess).

Many moons ago, I did some mini-reviews of various stands, including the Hercules DS543B flute-piccolo-clarinet stand. I had a complaint about it, that holds true for the DS538B as well:

It has yellow trim. Not on the pegs, which might be useful in the dark, but on the base, where its only function is to call attention to itself (and perhaps provide a little free advertising).

I got in touch with a Hercules representative, who pointed out a functional reason for the bright trim on the base:

The reason we make the yellow trim eye-catching is to prevent stumbling over the stand or instrument on the dark stage.

The DS538B appears as though I could disassemble it with an adjustable wrench; it’s tempting to attempt this and spray-paint the yellow parts black. (I can only assume that attempting something like this voids applicable warranties.)

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Things that aren’t jazz

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Photo, frawemedia

Okay, first of all: what I’m talking about here is the “mainstream” jazz tradition, insofar as such a thing exists (you can make a good argument that it doesn’t, really). “Jazz” is a wide net to cast. To flip it around, if I were going to list things that aren’t “classical” music, I might say “use of the electric bass guitar” or even “microtonality.” Are those things really mutually exclusive with classical music? No. But they are not part of the tradition of the Viennese masters, not what your local community orchestra would play, not what most people think of when they think of classical music.

One misconception that many classical musicians seem to have about jazz is that since it has strong improvisatory elements, it must be very free and unstructured. I think the opposite is true: improvisation, at least in the mainstream-bebop/hard-bop-influenced style, requires fairly strict structural underpinnings. None of the following works well when someone is trying to improvise:

  • Free forms. Form in jazz is much stricter than in classical music. Most common jazz tunes have one of two forms. The first is precisely 32 bars in 4/4 time, with four eight-bar sections: AABA. The second is precisely twelve 4/4 bars, a “blues” form. Anything that doesn’t fit exactly into one of these categories is most likely very closely related to one of them.
  • Free harmony. Bebop and hard-bop jazz are extremely tonal. While improvisers may play pitches that fall “outside” the chords, it is almost always within a tonal framework: the notes function as upper extensions of the chords, or at least they are used in a sort of polychordal way that has reference to the underlying harmony and will ultimately resolve back to it. The idea that “there are no wrong notes” isn’t exactly true; notes can definitely sound very wrong if they aren’t properly contextualized with regard to the harmony.
  • Free or changing meter. Jazz makes frequent use of polymeter and syncopation, which can give the impression of shifting meter, but most jazz doesn’t actually change meters, especially in improvisatory sections. The polyrhythms and syncopations work because they are overlaid on an unchanging metric pulse, and resolve to it.
  • Rubato. Tempi also tend to quite strict in jazz playing. A musician might “lay back” in the beat or stretch a rhythm, but the underlying pulse doesn’t change. (In my experience, jazz players generally have much steadier internal metronomes than classical musicians.)
The freedom that improvisers do have is to create melodies over these fairly rigid structures. The rigidity gives the improviser a predictable framework to work with (or perhaps against). At a more detailed level, there are certain melodic characteristics that classical musicians tend to associate with jazz, that I don’t hear when I listen to jazz or play with fine jazz musicians:

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The value of a musical instrument

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My instruments are valuable. Here’s why: Most of them cost a lot of money. Replacing any of them would be expensive, possibly even prohibitively so. (If you haven’t already, get a good insurance policy from a company that specializes in musical instruments!) I worked hard at choosing them. When I bought my oboe, I went to … Read more