Baroque Flute Multiphonics

Researcher: Carla Rees

The aim of this project is to fully document the pitches arising from the 128 fingering combinations of the baroque flute. This is achieved through recording both the fundamental pitches of each fingering and the resulting overtones (which may or may not match the harmonic series depending on the fingering used). The combination of these resultant pitches will be explored for their viability as multiphonics, documenting the stability and available dynamic range. Microtonal differences will be noted to enable the creation of microtonal fingering charts (which can be used in conjunction with other means of intonation control in a range of different contexts). Where possible, these recordings will then be subject to spectral analysis to identify aspects of the quality and timbre of the sound. The fingerings will also be mapped against historical fingering charts to gain a greater understanding of temperament and the contexts in which different fingering alternatives were used.

This serves as a starting point for further exploration and cannot be seen as absolute; a player has a wide range of pitch control through the angle and speed of air used (which in practice can vary between the different notes of the chromatic scale to reach accurate intonation) and there is inevitably likely to be some variation in results between players. My aim is to approach each fingering with a typical air position for that note (for example for an unaccompanied piece), using this as a starting point from which to measure the likely range of variation. My aim is to extend the work previously done on the baroque flute d’amour (in preparation for a commission by Nicola LeFanu) and to systematically explore the capabilities of a standard baroque flute pitched at A415 and A400.

Research questions

• What are the resultant pitches which arise from the 128 fingering combinations on the baroque flute?

• What are the multiphonic combinations that can be produced from these fingerings?

• What are the microtonal pitch variations that arise from these fingerings?

• What are the variations in timbre that the different fingerings produce?

Following this initial stage, the information will be tested within a practical context through collaborations with composers.

Planned outputs

It is anticipated that this work will be of benefit to baroque flute players and composers. Outputs such as fingering charts will be made available at www.carlarees.co.uk as open access material. The project will also be documented via a Research Catalogue exposition.

Acknowledgements

Image: Work in progress - a baroque flute and fingering charts by Carla Rees.

This project is supported by an Academy Small Research Grant.