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∅ For Bass Flute Solo


Structure

The score comprises of sets of ‘bars’ separated with spaces. Each bar represents a single full exhalation of breath from the performer. The length of each bar is therefore determined by the length of time for which a performer can exhale. This means that the flautist should perform the actions within the bars at a speed relative to their breathing. The space between bars is given for the flautist to inhale. The performer may choose the speed at which they inhale, unless the action is indicated in the score. Opening The opening of the score comprises three multiphonics with hairpins to asterisks. These asterisks denote a dynamic between ppp and mp. The performer should work through the multiphonics in any order choosing a dynamic peak each time. The performer should start with a length that feels comfortable (say between fifteen and twenty seconds), and then repeat the action, increasing the time with each action until the feel that they are at the limit of their capacity (at least twenty five seconds, but this may be considerably more). This may take several minutes or more. Once the performer feels that they have significantly increased their capacity, they may move on to the rest of the piece, which is to be played in order. All mutliphonics and microtonal pitches include fingerings above the stave. Where a percussive motion such as a key click in required, the fingering(s) required are also indicatved. Multiphonics used are notated thus: Quarter flat

Slighty flat

Slightly sharp

Quarter sharp

Three quarter sharp

Glissandi The glissandi in this piece are all relatively small and should be achieved using embouchure. Where the indication is given the ‘roll inward’, the performer should rotate the flute towards themselves, thus lowering the blown pitch. Ribattimento Ribattimento is an articulation that is achieved by changing the speed of tounging over the duration of a gresutre. This technique is employed on page two, where the performer should increase the tounging speed gradually moving to a flutter tongue near the end of the phrase. The pitches given as arrow noteheads denote the dominant pitches in the multiphonic and may not always sound consistently. Flutter tongue Two types of flutter tongue are used in this piece, the first of which uses the tongue repeatedly hitting the roof of the mouth (notated flzg. (t)). The second uses a glottal action in which the performer relaxes the back of the throat and lets it vibrate (notated flzg. (gl)). If the direction to flutter tongue is given before the gesture then the performer is required to perform the action from the outset. If the action is written afterwards, then the performer should move from ordinario to the flzg. At the time indicated. Accelerando Accelerando is indicated in the score using the following notation:

x

The spacing between the stems is indicative of the movement, i.e. from slow to fast, or from slow, to fast, to slow etc. and should be considered as key clicks that transition into a trill-like movement as the action gets faster. The cessation of an action is indicated using this symbol: This symbol is used to indicated that a particular multiphonic or pitch event ceases at this point. Percussive actions should be performed with the multiphonic/pitch. The only exception to this is on the second system of the last page where the second multiphonic ceases before the end of the bar. The performer should continue to sing the note indicated until the end of the bar. Singing whilst playing The performer is asked to sing whilst playing at various points in the piece. These pitches should be articulated with an ‘ah’ (rhymes with bar) sound which allows the movement of the tongue without changing the quality of the sound.

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∅ For Bass Flute Solo

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Daniel Wilson: Null