Flute Extended

MASTER'S THESIS
The Vocal Flute

Creative Uses of the Flutist's Voice in a Collaborative Context
Marina Pereira Cyrino

2013
Master of Fine Arts

Music Performance
Lule University of Technology

Department of Arts, Communication and Education
The Vocal Flute:

Creative Uses of the Flutist's Voice in a Collaborative Context

Marina Pereira Cyrino

May 2013

Supervisors: Professor Sverker Jullander and Professor Sven-Erik Sandlund

A thesis submitted in partial fulfillment of the
Master Program in Music Performance

Department of Arts, Communication and Education
Lule University of Technology

Abstract

The Vocal Flute: Creative Uses of the Flutist's Voice in a Collaborative Context is a
piece of artistic research that discusses the use of the flutists voice combined with
flute playing, through performer-composer collaboration and through composition.
This thesis focuses on a specific extended technique, consolidated in the 20th century.
The use of the flutists voice is characterized by a richness of possibilities and appears
in the classical repertoire, but also in improvised music: the classical avant-garde,
traditional and new jazz, popular styles.
The aims of the research are to explore the use of the flutist voice combined with flute
playing through collaboration performer-composer and through composition, to
clarify in which way collaboration can help us to understand the use of the flutists
voice and to develop practices that facilitate the learning process of this technique.
My own practice and my collaboration with two different composers are in the center
of the discussion.
As result of the collaborative process, three new pieces were written, performed and
recorded: Floating Embers (for flute and soprano) by Olle Sundstrm, Keep the Night
from Coming In (for solo flute) by Lisa Stenberg and Old Game (for solo flute),
written by me. My own practice, rehearsals and experimentations with composers
inspired me to compose Old Game, an etude for flute and flutists voice.
The findings of the research indicate that great benefits can result from the practice of
new techniques such as using the voice while playing, especially when combined with
creative processes, such as collaboration or composition. The topics that emerged
during the process are: analyses of the uses of the flutists voice while playing
through literature and in each new piece based on the performers practice; patterns in
each collaboration; impact of each collaboration on the development of flute
techniques and flute practices.
The artistic outcomes of this research are three new compositions for flute and
recordings of the same.

Keywords:

flute, flutists voice, extended flute techniques, singing and playing, speaking and
playing, collaborative performance practice, artistic research.

Acknowledgements
I would like to express my gratitude towards:

Olle Sundstrm and Lisa Stenberg, without their talent and time this project wouldnt
have such a creative strength.
My thesis supervisor, Sverker Jullander and my flute teachers Sven-Erik Sandlund
and Sara Hammarstrm.
The sound engineers that worked with me during this project: Joel Lf, Mattias
Wessel and Bernardo Brando.
Josephine Gellwar Madsen, for her talent and for taking part of this project.
My dear friends Natalya Ivanova, Tiina Kaikkonen and Ana Val, for the friendship,
the support and for sharing joys and challenges during these two years in Sweden.
Mikael Mannberg, for the great and intense musical partnership.
I would like to thank my mother, Vilma Maurer, my family and friends from across
the ocean, for their love and support despite the distance. Finally, without the special
help and support of Bernardo Brando, finishing this thesis on time wouldnt have
been possible.
I specially thank my father for making this winter journey possible.
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Contents
Abstract
Acknowledgements
ii
Contents
iii
1 Introduction
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1. The restless flute
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2. Aspects of collaboration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.1. Flutists in collaboration
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2.2. Collaboration in contemporary composition and performance . . . . . . .
2.3. Creative artistic collaboration
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2.4. Collaboration between composer and performer . . . . . . . . . . . . . . . . .
2.5. Collaboration in the context of this research
3. Methodological approaches
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3.1. Central issues of the project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3.2. Action research
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3.3. Research strategies
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4. Overview of different parts of the research
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6
9
4.1. The projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

4.2. Audio recording
4.3. Written thesis
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2 The flutists voice

1. Introduction
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2. Singing and playing
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2.1. A general overview
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2.2. Singing and playing: Pierre-Yves Artauds four categories
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12
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12
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2.2.1. Voice pedal with flute playing:

The voice sustains one note while fingers moves
2.2.2. Flute pedal with voice moving:
The flute sustains one note while the voice moves
2.2.3. Voice singing and flute playing, in parallel movement
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13
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Illustrating singing and playing, speaking and playing, and in between . . . .
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2.2.4. Voice singing and flute playing: independent lines

3. Speaking and playing
4. Musical examples:
4.1. Speaking without instrument on lips
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4.2. Speaking or whispering with instrument on lips

4.3. Speaking or whispering into the instrument
. . . . . . . . . . . . . . . . . . 15
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16
4.4. Singing into the instrument
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4.5. Singing in unison or octave
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4.6. Singing and playing alternately

4.7. Glissando with voice
4.8. Singing different vowels
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5. Throat Tuning
6. Reflections
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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
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3 Floating Embers
1. Introduction
18
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
4.9. Some random funny examples
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2. Floating Embers: a walk around extended flute techniques
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2.1. First Section: EDGY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
22
2.2. Second Section: MYSTERIOSO
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2.3. Third Section: INTENSE
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3. Floating Embers and the use of the flutists voice
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4. Practicing Floating Embers: Challenges and solutions
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4.1. Passage from bar 19 to 26: Voice glissando with flute pedal
4.2. Bar 37
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31
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
4.3. Passage from bar 47 to 52: Singing ta ke te in different tones . . . . . . 31

4.4. Passage from bar 55 to 66:
Sing Ta ke te in octaves with the flute line
. . . . . . . . . . . . . . . . . . . 33
4.5. Passage from bar 67 from 72: Flute pedal with moving voice
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33
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4.6. Passage from bar 67 to 89:

The complexity of singing and playing distinct lines
4.7. Passage from bar 89 to 96
5. Collaboration
5.1. Introduction
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
5.2. Collaborative patterns
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5.3. Examples of negotiation: focus on the flutists voice

6. Reflections
1. Introduction
38
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2. Keep the Night from Coming In: an overview

2.1. An open score
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41
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2.2. Open, half open, and closed embouchure

2.3. Extended flute techniques
2.4. The use of the flutists voice
2.4.1. The melting points
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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
2.4.2. Consonants, vowels, syllables
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3. Keep the Night from Coming In: the seven sections
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3.1. Section A
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
3.2. Section B
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
3.3. Section C and Section F

3.4. Section D and Section G
3.5. Section E

. . . . . . . . . . . . . . 37
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4 Keep the Night from Coming In
36
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
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48

4. Collaboration
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4.1 Introduction
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
4.2. Patters of collaborations
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4.3. Examples of negotiation during the collaboration

5. Reflections
5 Old Game
1. Introduction
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49
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53
2. Old Game The text
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3. The use of the flutists voice: Speaking/ whispering and playing

4. The use of the flutists voice: Singing and playing
5. Other extended flute techniques
54
. . . . . . . . . 55
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57
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58
5.1. Whistle tones: Is someone calling or it is just imagination?
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58
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5.3. Timbral Trills: Disturb the sound kindly
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59
5.4. Discovering new effects: a tone appears!
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5.5. From sh to s: dont speak, dont sing, venture into strange sounds . . . .
60
5.2. Key clicks sounds:

Lets do something with the flute when its not on the lips
6. Practicing Old Game: Challenges and solutions through practice

6.1. Whisper and playing with air attack
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61
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61
6.2. Speaking without instrument on the lips

6.3. Singing one tone octave
. . . . . . . . . . . . . . . . . . . . . . . 61
...................................
6.4. Whispering and playing in rhythmical passages
. . . . . . . . . . . . . . . . . . 62
6.5. Singing in parallel movement with the flute line
. . . . . . . . . . . . . . . . . 63
6.6. Singing different intervals: from singing to groaning

6.7. Singing and playing: the last passage its finished?
7. Reflections
6 Discussion
1. Introduction
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63
. . . . . . . . . . . . . . 64
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64
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2. The use of the flutist voice: the outcomes

2.1. Floating Embers and the singing voice
2.2. Keep the Night from Coming In:

62
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67
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67
67
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transitions, boundaries, impermanence
2.3. Old Game and the speaking voice
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2.4. Practicing my own voice while playing

3. Collaboration: the outcomes
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68
. . . . . . . . . . . . . . . . . . . . . . . 68
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
3.1. The special agencies in musical collaboration

3.2. Collaboration across generation
. . . . . . . . . . . . . . . . . . 69
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
3.3. The musical collaboration composer-performer:

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What is in between Collaborative and Integrative?

4. Final reflections
Reference List
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Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Musical Scores
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CD Recordings
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
YouTube Links
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Appendix
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Introduction
1. The restless flute

The stimulating interaction [between a flutist and a composer] is often responsible for the
emergence of positive and powerful creations. Indeed, how could one dispense with it if
one has the imperious desire to go beyond admissible limits, to violate comfortable
territory, to shatter this into pieces in order to recreate the instrument and its language
completely? In this conquest, the flute has indeed proved the driving instrument of this
century [...] (Artaud, 1994, p.141)
The main focus of this research will be a specific extended technique, consolidated in
the 20th century: the use of the voice while playing the flute. This technique is
characterized by a richness of possibilities and appears in many pieces of the classical
repertoire, but also in improvised music: the classical avant-garde, traditional and new
jazz, popular styles.
In the second half of the 20th century the flute became a major vehicle for experimental
composers, resulting in a repertoire that made extensive use of techniques outside the
instruments traditional performance lexicon. In order for composers to write effectively
and idiomatically for the flute, collaboration with performers was often essential.
(Macgregor, 2012, p.3)
Edgard Varse, in 1936, started a new period for the flute repertoire with Density 21.5
(1936).
In just three minutes three centuries of tradition in which the flute was perceived as a
garrulous, pastoral instrument, avowedly its principal distinguishing features from the
seventeenth to the nineteenth centuries, are called into question. In just three minutes a
new instrument is revealed and an unprecedented trend among composers in which the
flute is rapidly raised to the privileged rank of leader in musical creation is set. (Artaud
1994, p. 141142)
Another important work that opened the flute world to different sound perspectives is
Luciano Berios Sequenza 1 (1958). These works were pioneers in Western art music
in introducing extended flute techniques. One interesting point concerning this
research is that none of the two pieces uses the voice of the flutist.
The first major work that confirmed the voice of the flutist as an extended technique
rich in possibilities is Voice by Toro Takemitsu (1971). The title of the piece points to
a new direction where the voice of the flutist has an important role, equal to that of

other effects and techniques. Voice followed the 1970 World Exposition in Osaka,
Japan, where Takemitsu had served as music director along with Stravinsky and
Stockhausen. During this period, Takemitsu became extremely interested in European
experimental techniques. Bruno Bartolozzis handbook New Sounds for Woodwinds
had an influence on Voice. By incorporating the spoken word, Takemitsu displayed
not only new aural possibilities for the flute, but attempted to capture certain gestures
and articulations of traditional Japanese flutes. (Robinson, 2011, p.52)
In Voice, the composer sought to unite the performer with the instrument. The performer
must deliver a spoken text, speak into the instrument, hum, shout, sing, growl, and click
the tongue, blending the voice and the sound of the flute. At other times, Takemitsu sought
to create a distinction between the sound of the voice and the sound of the flute, separating
spoken syllables and traditional flute sounds. This was combined with conventional
extended flute techniques such as key tapping and a wide variety of articulations, in order
to create a wide range of sounds and textures all related to the single source. (Robinson,
2011, p.52)
2. Aspects of collaboration
2.1. Flutists in collaboration
Important partnerships between flutist and composer led to the main solo pieces in the
modern flute repertoire. As examples we have the Italian flutist Severino Gazzelloni,
a major figure in the postwar experimental music scene, and his contributions to the
creation of two works: Sequenza I per flauto solo by Luciano Berio and Mei for solo
flute by Kazuo Fukushima; moreover, the flutist Robert Aitken and his contributions
to the genesis of Ryoanji for flute by John Cage, and Scrivo in Vento for solo flute by
Elliot Carter.
The instruments ability to produce a large and diverse arsenal of sounds not only
expanded its sonic canvas to hitherto uncharted territory but could also evoke the sound
worlds of other musical cultures. What resulted was a prolific repertoire that rejected the
notion of the flute as a vehicle for bucolic whimsy. An instrument that was virtually
ignored in the 19th century (at least in a soloist capacity) was now being embraced by key
musical figures of the 20th century. With a handful of exceptions (most notably Brian
Ferneyhough, who was a flutist in his student years) the development of this repertoire
was, and continues to be, the result of intimate collaborations between composer and
performer. (Macgregor, 2012, p.2)
Macgregor (2012, p.3) details some of the prolific partnerships between flutists and
composers: Salvatore Sciarrino has composed more than a dozen pieces for Roberto
Fabbriciani and Mario Caroli; Karlheinz Stockhausen wrote extensively for the Dutch
flutist Kathinka Pasveer; and Kaija Saariaho continues a fruitful relationship with the
American flutist Camilla Hoitenga. In fact, the author argues that many of these
composers owe much of their international reputations to an early compositional
foundation that significantly featured works for solo flute.
The strength of these pieces, from their employment of extended techniques to the graphic
layouts of the scores, was largely due to dialogue with sympathetic and talented
performers. Macgregor (2012, p.3)
2.2. Collaboration in contemporary composition and performance

According to Roe (2007, p.80), research into collaboration is a recent phenomenon
with many areas yet to be explored. Detailed investigation into the process of
collaboration between composer and performer are still scarce. In spite of this lack of
investigation in the field of creative collaboration between composers and performers
mentioned by Roe, many musicians have been focusing their research on
collaboration in contemporary music in the last few years: Linda Merrik (2004), Paul
Roe (2007), Stefan stersj (2008), Marta Castello Branco (2012), Mark Macgregor
(2012), Charles Martin (2012), Gisli Grtarsson (2012), Sebastin Caldas Zeballos
(2012). Its noteworthy that the three last examples named are masters theses
published by Lule University of Technology, in the context of the same program
where Im taking part: Master in Music Performance.
An overview will be presented to help understand the function of the musical
collaboration in this research. Although the focus of this research is the use of the
flutists voice, the collaboration between performer and composers plays an important
role, as a method used to explore and understand an extended flute technique. I will
present briefly the subject based on literature review.
2.3. Creative artistic collaboration
A number of authors have addressed particular aspects of artistic collaboration. Two
categorizations of collaborative artistic practices have proved to be relevant for this
research. The first is the patterns of artistic collaboration by Vera John-Steiner (2000)
and the second is the patterns of collaboration between composer and performer by
Hayden and Windsor (2007).
John-Steiner has undertaken some of the most important theoretical work on artistic
collaboration. Building on the work of Lev Vygotsky, she challenges the
individualistic focus on human behaviour that has been predominant in Western
culture. She argues that the possibilities for stretching the individuals potential
through collaborative works make for a strong argument to reconsider the
fundamentals of our practice (stersj, 2008, p.20). John-Steiners model of artistic
collaboration is also discussed in Roe (2007) and Martin (2012).
John-Steiner divides general artistic collaboration into four categories.
Distributed collaboration: A widespread practice that can take place in informal or
organized contexts. Artists with common interests share and explore ideas that can
lead to personal insights.
Complementary collaboration: A widely used format of artistic collaboration based
on complementary knowledge. Each artist has a clear role based on his or her
expertise.
Family collaboration: A format of artistic collaboration of groups that develop
relationship and work very close together. In this pattern roles are flexible and may
change over time. Levels of independence, dependence or interdependence shift and

develop depending on skills levels and experience. (Roe, 2007, p.27)
Integrative collaboration: A format of artistic collaboration based on the desire to
transform knowledge and that can result in new practices and concepts. These
relationships require prolonged periods of committed activity and thrive on risktaking, dialogue and shared vision (Roe, 2007, p.27). This unions transform both
artistic work and personal life (John-Steiner, 2000, p.96).
2.4. Collaboration between composer and performer
Patterns of artistic collaboration specifically applied in a musical context are
discussed in Hayden and Windsor (2007) based on the work Theory in Practice:
Increasing Professional Effectiveness by Argyris and Schn (1974). They propose
the following distinct categories to understand relationships between composer and
performer.
Directive: The composer determines the performance through score/notation. The
collaboration is limited to issues in the realisation of the score.
Interactive: Involves negotiation between composer and performer, but the composer
is still the author of the piece.
Collaborative: The music is developed through collective decision-making. There is
no hierarchy of roles(Roe, 2007, p.28).The structure and context of the composition
is decided through group decision making and live improvisation (Martin, 2012,
p.10).
2.5. Collaboration in the context of this research
Collaborating with composers has been a part of my musicians life for many years.
In 2004 I participated in the creation of a student experimental chamber group in the
town of Belo Horizonte, Brazil. During four years we worked with improvisation and
collaboration with composers, focusing on classical contemporary music. These years
reinforced my passion for new music and showed me the importance and benefits of
working directly with composers. Since that first student chamber group, I have been
working regularly with composers. Ive premired many pieces of Brazilian
composers and participated in concerts and recordings of contemporary music almost
my whole flute life. It was very natural for me to prioritize collaboration with
composers when I developed the idea of this project.
The flutist Mark Takeshi Macgregor, in Of Instrumental Value: Flutist-Composer
Collaboration in new music (2012), shares my passion for collaboration:
As a classically trained flutist I have performed music of many styles and periods, but my
experiences playing the music of our time stand out as being among my careers most
thrilling highlights. Over the years these experiences have led to an interest in
collaborating with composers in the creation of new pieces for my instrument. For
composers this dialogue can ensure that their pieces are playable and idiomatic, while as

performers we have the unique and rewarding opportunity to become directly involved in
the creation of new works. Performer-composer collaboration is the primary reason why I
find my career as a musician so vital and exciting, to the point where the commissioning
and performance of new music has become something of a mission for me. (Macgregor,
p.1)
For this project I had the privilege to find two very interested and committed
composers, who accepted the challenge of writing a new composition in a context of
collaboration, even if it had no payment involved. They participated in this project
only because of their interest in music and in exploring new sound possibilities.
As result of the collaborative process, two new pieces were written, performed and
recorded: Floating Embers by Olle Sundstrm and Keep the Night from Coming In by
Lisa Stenberg. Ive met both composers in the Music School of Pite. The
collaboration with Olle Sundstrm will be presented and discussed in Chapter 3 and
the collaboration with Lisa Stenberg in Chapter 4. A comparison and synthesis of
both and a reflection around the whole process will be presented in Chapter 6.
Collaboration between performer and composer will be used in this research as a
method to explore and understand an extended flute technique. The models presented
in this chapter will be discussed in the context of each specific collaboration.
3. Methodological approaches
This research emerged in the context of artistic research, a kind of practice-based
research, based on non-academic professional artistic practice. In this case, my
practice as a musician, and especially as a flutist, is the heart of the thesis. The purpos
of artistic research is to bring an equal status of practical knowledge within the
academy, developing the artistic profession and articulating tacit knowledge. It is
characterized by a methodological pluralism. The research questions are born in the
artistic practice and the results intended to be applied in practice.
3.1. Central issues of the project
The principal aim of the research will be to shed light on and to explore the use of the
flutists voice combined with flute playing, through performer-composer
collaboration and through composition.
The main questions guiding the research are: How can the use of the flutist voice
combined with flute playing be explored through collaboration? In which way can
collaboration with composers help us understand the use of the flutists voice? How
can the musicians practice clarify the use and the learning process of this technique?
Different methodologies were used to approach the research subject. In order to
understand and contextualize the use of the flutists voice while playing, an extensive
literature study using scores, flute methods, articles, dissertations, audio and video
recordings was made.
After contextualizing the use of the flutists voice while playing, I started two projects
of collaboration with composers. The first project (September 2012 to May 2013)

with the composer Olle Sundstrm resulted in the piece Floating Embers. The second,
with the composer Lisa Stenberg, resulted in the piece Keep the Night from Coming In
(November 2012 to May 2013).
3.2. Action research
The concept of action research was introduced in the early 1940s by the social
psychologist Kurt Lewin (1890-1947) in the context of the social sciences. Roe (2007,
p.87) identifies the characteristics of action research according to Denscombe (2003).
Its an effective form of practice-based research characterized by dealing with real
world problems and issues; researchers have an active participation in the process;
work through cyclical processes; change is an integral part of the process. This project
can be understood as action research in the way that my artistic practice is a
methodological tool that is used to deal with practical problems and issues. I have an
active participation in the process, and I intend to introduce changes in the existing
practice.
According to stersj (2008,p.12), there are two fundamental kinds of action research,
practitioner research, in which the practitioner is also the researcher, as opposed to
emancipatory action research, in which the researcher takes part as researcher/subject
and participators are objects. Similarly to stersjs project SHUT UP N PLAY!
(2008), this research can be considered practitioner research since the project only
involves a performer and composers, with no external researchers observing the
project.
3.3. Research strategies
The method of collaboration in both projects started in a similar way. During the
process, each collaboration initiative took a different direction. The process in each
project was, generally speaking: first I presented the general idea of the research
project and introduced to the composers some of the material that I had gathered
during the literature study. With some ideas in mind, the composers started to write
sketches. During this period I introduced what I called Experimentation Sessions
(that happened more systematically with Lisa Stenberg and in a more informal way
with Olle Sundstrm). In these sessions, I exchanged ideas and experimented with
some of the composers sound ideas, or scores from the flute repertoire, or just
improvised. This material was intended to serve as an input for the composer. After
the pieces were finished, the period of practicing the piece began, which in the case of
Floating Embers included rehearsals with others musicians.
During the whole process I kept a reflective journal or practice journal, where I
developed ideas about the practice of the pieces, the collaboration process and the
composition process.
Video or audio recording of rehearsals, experimentation sessions, performances and
studio recordings were used to discuss and reflect upon the outcomes of the
collaborations. Figure 1 shows the main methodological steps followed in this
research project.

Literature Study - Tracing the use of

the voice of while playing
Meeting Olle Sundtrm

Exchange of ideas, scores, audio
recordings
Flute experimentation, trying Virst
sketches
Video / Audio documentation
ReVlective Journal
Meeting Lisa Stendberg

Exchange of ideas, scores, audio
recordings
Flute experimentation,trying Virst
sketches
Video/ Audio documentation
ReVlective Journal
Floating Embers -
Practice,
Rehearsals,
Performance,
Recording
Keep the Night from

Coming In - Practice,
Rehearsals,
Performance,
Recording
ReVlections
around the
collaboration
Figure 1. Research strategies during the collaboration
When comparing the literature studies with the material used by Olle Sundstrm and
Lisa Stenberg, I was inspired to express musically other aspects of the technique.
More specifically, I had the curiosity to try to systematise different possibilities that I
discovered during these two years of research. My own practice, rehearsals and
experimentations with composers led me to the desire to express ideas through music.
I composed the etude Old Game (2013), for flute and flutists voice that will be
presented and discussed in Chapter 5, using a creative method.
Collaboration
with Olle
Sundstrm and
Lisa Stenberg
Literature Study
Practicing,
experimenting
and improvising
on the use of the
Vlutist's voice
Composing
the Etude
Old Game
Figure 2. Creative method: research strategies during composition
A comparative method has been used for different parts of the research: between the
two collaborations performer-composer; between the aspects of exploring the use of
the flutists voice while playing; between the different approaches to the practice of
the three pieces resulting from this research.
Different patterns
of collaborations
Lisa Stenberg
Olle Sundstrm
Different Practice
Challenges
Floating Embers
Keep The Night
from Coming In
Old Game
Comparative
method
Different
approches of
using the voice of
the Vlutist
Floating Embers
Keep The Night
from Coming In
Old Game
Figure 3. Collaborative method in the research
The structure of this research corresponds to case study process. Case study research
involves the experience of real people, in real situations and provides a rich source of
data. It provides detailed, authentic accounts of the phenomena in context (Roe, 2007,
p.89). This research presents three different projects that can be considered three
different case studies: the collaboration with Olle Sundstrm, the collaboration with
Lisa Stenberg and my process of composing an etude.
Data serving as a basis for this research include
Reflective journal or practice journal

Audio or video recordings from the rehearsals and experimental sessions
Compositional sketches
Supplementary documentation: emails, informal conversations
Three new compositions - scores (see Appendix)
Three new compositions - recordings (see Appendix)
The audio/video material was collected and analysed basing on the methodology
adopted by stersj (2008, p.13): by means of musical interpretation and analysis
(focus on the flute technique, analysis of the musical material); and by coding and
analysis according to qualitative researches procedures (focus on the modes of
collaboration). I adopted the same strategy of making the analysis directly from the
recorded audio and video.
The artistic outcomes of this research are three new compositions for flute and
recordings of the same (see Appendix).
3. Overview of different parts of the research
3.1.The projects
- Floating Embers by Olle Sundstrm, Chapter 3.
- Keep the Night from Coming In by Lisa Stenberg, Chapter 4.
- Old Game by Marina Pereira Cyrino, Chapter 5.
3.2. Audio recordings
The audio recordings, with the score of each piece (see appendix), represent the main
artistic result of this research.
Floating Embers: Recorded in LTUs School of Music - Pite, Sweden / March 2013.
Sound engineer: Mattias Wessel.
Old Game: Recorded in LTUs School of Music - Pite, Sweden / May 2013. Sound
engineer: Mattias Wessel.
Keep the Night from Coming In: Recorded in Fundao de Educao Artstica - Belo
Horizonte, Brazil / August 2013. Sound engineer: Bernardo Brando.
3.3. Written thesis
The written text should not be understood as the only focus of this research but a part
of the larger artistic research process. The function of the text is to connect the
different projects and to clarify the practical knowledge of the whole process of
collaborating, composing and performing.
The flutists voice
1. Introduction
Extended techniques can be understood as the result of a research process where new
sound possibilities were systematized and widespread (Castello Branco, 2012, p.21).
The new flute techniques are not in conflict with the traditional technique, but present
themselves as a continuous process of exploring new possibilities of the instrument.
According to the flutist Robert Dick:
Many composers and instrumentalists worldwide are becoming increasingly interested in
the discovery and development of new instrumental sonorities, and all indications are that
this trend is growing into a major branch of composition and performance. This is
especially true for music for flute. Even in relatively conservative compositions written
today, it is a rare piece that is not influenced by new sonorities and techniques, colors and
articulations. (Dick, 1986, p.7)
All the major flute methods of new techniques introduce us to the use of the flutists
voice while playing, although most of the time this technique is explained very briefly.
And although an enormous part of the flute repertoire includes different kinds of new
techniques, and many flute methods are nowadays only dedicated to the extended
technique of the flute, these resources are not a priority in the flute education. Many
flutists go through their education without being in contact with it. Researches
focusing on the practice of new techniques and the practice of new music are even
less common.
In this artistic research project for the degree of Master in music performance, the use
of the flutists voice while playing will be discussed in the context of my own practice
and my collaboration with two different composers.
In spite of great efforts that have been put into the study of historic performance practice
during a great part of the 20th Century this has no equivalent in the research into
performance of new music. There exists handbooks in contemporary playing techniques,
especially for wind instruments, and there are also a number of books on contemporary
notation practice. Little research has been devoted however, to the performance
conventions of Art Music since modernism. (stersj, 2008, p. 4)
10
2. Singing and playing

2.1. A general overview
Singing and playing simultaneously is one of the most popular uses of the flutists
voice.
In the flute method The Techniques of the Flute Playing, Levine (2002) explains that
this effect can be produced when the vocal cords rub against one another (as
speaking), while simultaneously exhaling, so that air flows out through the larynx into
the flute. Levine (2002, p.20) illustrates the technique with the following figure:
Figure 4. Levines illustration for singing and playing the flute

It is possible to produce any pitch while singing and playing; the only limitations are the
natural vocal register and the tonal range of the flute. (Levine, 2002, p.20)
Another flute method, The Other Flute (1989), by Robert Dick, describe more deeply
the results produced by using the voice while playing. According to Dick, almost all
flutists can, in some degree, create multiple sonorities by humming while playing
single pitches.
The intervals formed and the timbre of these multiples sonorities depends, of course on the
pitch and timbre both of the note played and of the flutists voice. (Dick, 1989, p.143)
Pierre-Yves Artaud (1995) describes four possibilities of using the voice and playing
simultaneously: Flute pedal with voice singing; Voice pedal with flute playing; Voice
singing and flute playing in parallel movement (it is easier to control unisons or
octaves); and Voice singing and flute playing, both completely independent lines.
About this last category, he says:
This is extremely tricky and needs perfect control. The sound obtained can be modified
using different vowels or syllables. (Artaud, 1995, p. 119)
Here we have two musical examples of singing and playing, both found in Levine
(2002, p.129). In Example 1, the flutist sings an Eb while playing the written notes
(According to Artauds categories, voice pedal with flute playing):

11
Example 1. Gilbert Amy, Trois tudes No. 2.
In Example 2, the flutist plays a chromatic descending scale and sings in unison with
the flute line. At the same time, the flutist should sing glissando to the next note of the
scale (the singing line is here written with squares; according to Artauds categories,
flute playing and voice singing in parallel movement):
Example 2. Michal Lvinas, Arsis et Thsis, 1980.
2.2. Singing and playing: Pierre-Yves Artauds four categories

As I mentioned before in this chapter, Artaud (1995) describes four possibilities of
singing and playing simultaneously:
2.2.1. Voice pedal with flute playing: The voice sustains one note while the fingers
move
Example 3. Kajsa Saariaho, Laconisme de lAile (1982).
12

2.2.2. Flute pedal with voice moving: the flute sustains one note while the voice
moves

)

,'

"

(2013).

Example 4. Olle Sundstrm, Rimfrost

-+.

*

2.2.3. Voice
singing and flute playing, in parallel movement:

*

.

,'

.
+

.

+

Example
5.
Marina
Cyrino, Old Game (2013).

+

)

" #!$
%&'(&

2.2.4. Voice
singing and
flute playing:
independent
lines

#

the bass line (with square
6, the flutist plays the top line, while singing

In Example

note heads):

#

Example
Embers (2012).
6. Olle Sundstrm, Floating

3. Speaking
and playing

#

One question
comes when we start to investigate
deeply all the possibilities of using
the voice while playing: where are the boundaries
between singing and playing and
playing?
and singing
can
very
The
limits
between
speaking
be
foggy
speaking and
only
in this kind of research, but also in a general sense. Most of the
flute
not
methods classify the use of the flutist voice as singing and playing. Levine (2002
p.37) suggests a different category than singing and playing: speaking and playing.

#

13

/

$
#

He describes speaking and playing as a popular technique where the flutist speaks
words or text sequences over the embouchure hole or directly into the flute, with
audible voice as well as unvoiced (whispering).
In Kaija Saariahos piece, for flute solo and optional electronics, Laconisme de lAile
(1982), we have an example of different possibilities for speaking and playing. The
piece starts with the flutist reciting a text with audible voice with the instrument down,
and slowly moves the instrument towards the lips, but also changes from audible
voice to whispering voice.
In the first bar of the piece (Example 3) we have an example of speaking without the
instrument on the lips, with audible voice.
Example 7. Kaija Saariaho, Laconisme de lAile (1982).
In bar 19 (Example 8), we have another example of speaking and playing, where the
flutist should whisper into the instrument:
Example 8. Kaija Saariaho, Laconisme de lAile (1982).
4. Musical examples: Illustrating singing and playing, speaking and playing, and
in between.
Even if we can assemble the use of the flutists voice in two main categories:
speaking and playing or singing and playing, the great variety that appears in the flute
repertoire is underexplored by the main flute methods. In the following examples
from musical works, the flutist has to use the voice in very different ways. My
intention is not to establish rigid categories, but to illustrate the large variety of
technical possibilities.
14
4.1. Speaking without instrument on lips:

In the Examples 9 and 10, the flutist speaks in a normal, audible voice, with the lips
off the instrument
Example 10. Toru Takemitsu, Voice (1971).
4.2. Speaking or whispering with instrument on lips:

This technique adds a color to the voice, produced by the air sound that comes from
speaking with the lips in the traditional playing position. The composer can specify
the pitch or not. In this technique the voice will produce a flute air sound that will
always have a pitch corresponding to the fingering position for the first octave in the
flute.
In Phillipe Hurels Elia, for flute solo (Example 11), the flutist should speak a
sequence of syllables cha-ba-le-ge-de in an ascendant line, but the exact pitches are
not specified.
15
Example 11. Philippe Hurel, Elia (1984).
Example 12 is an excellent example of blurred boundaries between speaking and

singing. In Terrestre (2002), by Saariaho, the flutist should speak/sing with the lips in
the instrument, and the pitch is determined in the score (in unison or octave with the
flute). Even if the flutist uses the vocal cords as when singing, the resulting sound is
very close to the spoken voice.
Example 12. Kajsa Saariaho, Terrestre (2002).
4.3. Speaking or whispering into the instrument:

In the two following examples, the flutist should speak with audible voice or
whispering voice with the mouth covering completely the embouchure hole. As result,
we have a muffled, distant sound.
16
o #
nO
o
3
KEEP THE NIGHT FROM COMING IN

Composed for Marina Cyriano
Example
14. Toru
Takemitsu,
Commissioned
by Marina
Cyriano Voice (1971).
mp
Key clicks
Voice
SOLO FLUTE
4.4.
Whispering into the instrument
Performing notes
j j

>
>
No paus between the sections should bepmade.
General
Unvoiced sound
K
> r
> > > >
The piece consists out of 7 sections named A-G wich are free for the performer to play in any order.
All sections has to be played at least once.
All sections shall be performed from start to the end.
Sections may be repeated at a maximum of three times, but shall never be played more than once in a row.
ho
Flute
wo!
>
Kr
> > >
>
cho
to
to
j
>
>
>
cho
>
cho
Accidentals is valid only for the specific note notated at.

If nothing else i specified, the notated dynamic is valid for both flute and voice system.
to
wo!
p - to
p - to
pp
Gradually shift from unvoiced

whispering ch to voiced o
to
w.t
b Singing
o inn wunison or octave is considered the easiest possibility of singing while
playing
b by the main flute methods.
pp
fz
#
o mp
closed embouchure.
Only air sound
Unvoiced whispering
Ch as in Bach
t - ko
All trills shall be performed as timbral trills

All glissandos shall be performed as lip glissandos if possible
4.5. Singing in unison or octave
By closed embouchure, the composer means that the embouchure hole must be
j
The broken (dashed)

indicates
a gradual shift
covered
witharrow
the
lips.
>
from technique to another.
cho
w.t
Keep
j
half open embouchure
Stenberg,
TheNight From Coming
Example
b n 15. Lisa
In (2013).
>
open embouchure
pp
p

b
> > >
j
>
Shiftmf
graudally from only air sound to full tone
Whistle tone w.t
o
Example 16. Kajsa Saariaho, Terrestre (2002).
LISA STENBERG
Voiced sound (sing)
17
4.6. Singing and playing alternately

In the following example the flutist should sing the following pitch with a breath tone.
The fingering is used to produce the marked pitch; however, the flutist does not
produce the normal tone but just blows air through the instrument.
Example 17. Kajsa Saariaho, Mirrors for Flute and Cello (1997).
4.7. Glissando with voice:

One resource used very often by composers is to sing a slow glissando. In Example
18, the flutist goes from a B to an Eb with the voice, through a slow glissando. The
flutist should also change the vowel sung, while the flute plays another distinct line. A
great example (in a single bar!) of a complex combination shows us the fantastic
diversity that this technique allows.
4.8. Singing different vowels:

Singing different vowels changes the timbre and gives movement to the voice line but
also affects the color of the flute sound.
18
4.9. Some random funny examples:
Example 20. Fredrik Hgberg, Flight of the Dragonfly (1996).
Example 21. Franois Ross, Kotoko uha! Questions de Tempraments (1997).
5. Throat Tuning
In the flute method Tone Development through Extended Techniques (1989), Robert
Dick1 introduces us to the Throat Tuning:
The tone begins when the air is blown across the edge of the embouchure hole, setting up
an oscillation of the air stream in and out of the flute, causing the air inside the instrument
to vibrate. But the vibrations pass not only forward from the embouchure into the flute,
but back through the mouth, neck and chest of the flutist as well. (Dick, 1989, p. 9)

1 Robert Dick, composer and flutist, is a leading proponent of contemporary music and is know
worldwide for his command of extended techniques for flute.

19
According to him, the tone of the flute is a complex combination of the flutist and the
flute. The sound of the air vibrating within the flute is resonating also within the body
of the flutist. Throat tuning is when the throat of the flutist is in position to resonate
best. It happens when the vocal cords are brought to the correct position to sing a
pitch.
When the vocal cords are held in position to sing a given pitch, the throat is in position to
resonate that pitch best. (Dick, 1989, p. 9)
Throat tune should be an important part of the flutists practice and can be achieved
by only singing, or by singing and playing simultaneously.
Mastery of throat tune is achieved by practice of singing and simultaneously singing and
playing the flute. (Dick, 1989, p. 9)
6. Reflections
Why sing if youre not a singer? Even today, extended techniques are seen as an
optional appendix to the traditional technique. But by going deep into the new flute
methods, we began to observe that the systematic study of new techniques brings
great benefits. Instead of regarding new sonorities as strange effects that composers
write, we could recognize the importance of introducing these techniques in the daily
practice.
Robert Dick (1986) maintains that working with new sonorities will greatly benefit
traditional flute playing. The benefits can be the development of the strength,
flexibility and sensitivity of the embouchure and breath support. The practice of new
techniques can also increase the players range of color, dynamics and projection.
Another very interesting benefit suggested by Dick is sharpening the musicians ear.
One must hear the desired pitch clearly before playing it when familiar fingerings are not
used, and quartertones and smaller microtones sharpen the sense of pitch as well. (Dick,
1986, p. 7)
If we take the singing while playing as an example of a new technique, the

development of the inner ear is one of the most important benefits that the flutist can
get through practice. To be able to sing and play different voices, the flutist needs to
work with memory and inner audition, which can have great effects on traditional
playing as well, such as improving the intonation, and strengthening the air support.
It should be emphasized that unless the flutist is a trained singer, the vocal cords can
be easily strained when singing and playing simultaneously. This specific technique
of using the voice should be slowly introduced into the daily practice, always paying
attention to the comfort of the vocal chords and the tension of the outside neck
muscles. Well discuss the challenges of learning and practicing this technique in the
next chapter.
This will build up over time with daily work, and while caution is important, do not avoid
this work it is too important. (Dick, 1986 p. 9)
20
Floating Embers
1. Introduction
Floating Embers, by the Swedish composer Olle Sundstrm2, was written in 2012.
The piece, a duo for flute and voice (soprano), was commissioned for my Masters
project, to explore the possibilities of using the voice of the flute player. I will present
in this chapter an overview of the piece and discuss the use of the flutists voice in
this context and my collaboration with the composer.
My collaboration with Olle Sundstrm started in the context of this research. As a
current student
the same school, he heard through a friend about my project and
Spark of
of Imagination
Flute
took the initiative to contact me. From the beginning, Olle Sundstrm had in his mind
o
b using
o
b
a strong
idea:
of the flutist. He had already composed other
the singing
Jvoice

b
& 44
pieces using this specific flute technique (for example in Spark of Imagination,
written for NEO3 in 2011) and
he was interested in continuing to explore it.
n
Olle Sundstrm
enrgetic
q = 90
&
b b

bR
b
b
nb
In the following excerpt of the flute part of Spark of Imagination, composed before
the beginning
of our collaboration,
the flutist should sing in unison with the written
b
.

b b b n J
n n b J J
line:
&
f
10
mp
b
b
& J J J J
13
&
21
&
27
U
& w
33
pp
mysterious tranquil
sing
mf
mf
b b b b b
mf
mf
C Slightly faster
mf
mf
q = 100
mf
mf
45
mf
44
Example 22. Olle Sundstrm, Spark of Imagination (2011).

Olle Sundstrm 2011

2 Olle
Sundstrm was born in 1989 in Stockholm, Sweden. He has studied musicology, music psychology and
composition at the University of Uppsala, and is currently studying composition with Professor Jan Sandstrm at
Musikhgskolan / the School of Music, in Pite. He has composed for different chamber music ensembles, choir,
orchestra, and film.
NEO - Norrbotten NEO is a Swedish ensemble, being charged with promoting contemporary art music on a
national basis. The ensemble consists of seven musicians employed full-time and has Studio Acusticum in Pite as
its home base. One of my flute teachers, Sara Hammarstrm, is part of the ensemble.
21
One of the main characteristics that will run through the whole collaboration between
Olle Sundstrm and myself is his interest in the singing voice of the flutist. In
Floating Embers, he explores it in many different ways.
Figure 5. Olle Sundstrm and Marina Cyrino in an Experimentation Session, Pite, 2012.
2. Floating Embers: a walk around extended flute techniques

Floating Embers, written for flute and voice (soprano) can be considered a tripartite
composition, each part with a different character:
- First section: Edgy, bar 1 to 38
- Second section: Mysterioso, bar 39 to 58
- Third section: Intense, bar 59 to 104
Floating Embers requires from the flutist the use of other extended techniques besides
singing and playing. These techniques will be mentioned briefly.
2.1. First Section: EDGY
In the first section of Floating Embers, the voice of the flutist has no major role. The
technique is used but the composer emphasises other effects. Edgy starts with flute air
sounds and flutter tongue while the singer has a soft line mixing different vowels and
phonemes, creating a delicate airy atmosphere. This first part of the piece explores
several effects that require knowledge of extended techniques, both in the flute and
the singers part.
22

!"
!"

#

The use of the flutists
voice begins as singing
voice.
More precisely, its a
flute pedal
with singing line. The flutist should sing a melodic
make a

line that goes from Eb,

Eb.

glissando to F# and back to the
Eb,while the fingers
sustain
an

$ $ $ $ $ $ $ $ $ $

#
$ $ $ $ $ $ $ $ $ $

$ $ $ $ $ $ $ $ $ $
%&

Example 23. Floating Embers, bar

18 to 24.
-
.
/

$
#

#

Edgy (bar 1 38) starts with flute air sounds
and
flutter tongue while the singer has a

)*
+,+

$$
*
soft line mixing
different vowels and phonemes, creating a delicate airy atmosphere.

This
firstpart
of the piece explores several effects that require knowledge of
extended

techniques,!"both in the flute and the singers part. The extended flute techniques
will

be described
with examples from the score.

#
Frulatti or Flutter Tongue

p. 12)
flutter
Levine (2002
the
as one of the most popular techniques

classifies
tongue

in new music. According
to him,
this technique
has
achieved the status of classical

new technique because of its widespread use. The flutter tongue can be obtained in
two different ways, by tongue or by throat: By wagging the tongue or by vibration of
the throat Artaud (1995, p. 19).
#
In Floating Embers both tongue and throat techniques can be used. The flutter tongue
is also combined with aeolian or air sound, for example in the first bar of the piece.

' (

!"

)*
+,+

Example 24. Floating Embers, bar 1.

!"

One special
characteristic of this piece is the combination of the flute flutter tongue

(written as uvular R in bar
flutter
in a mysterious
and the singer
tongue
5),
resulting

flutesound and
the singers
voice.

fusion
# between

the

23

' (

)*
+,+

!"

Tongue Ram (Percussive Effect)

!"
Example25. Floating
Embers,

bar 1 to 6.
#
According
to Artaud

p.117),
to
produce
this

effect

(1995,
the
flutist
must
close
the
hole
of the

mouthpiece with the tongue in a forceful way, without expiring any air.

$ $ $ $ $ $ $ $ $ $
$ $ $ $ $ $ $ $ $ $

' ( in

This effect results
a tone a major seventh lower than the original finger position

notated in the

score. The
for example in bar

effectis used
38 of Floating Embers.

2

#

)*
+,+

#

*$#

%&
!"

$Floating
$$ $Embers,
Example 26.
to
38.
$ $ bar
$36
$
$$

!"

-
.

/

$
#

Slap tongue
or
tongue
pizzicato
(Percussive
Effect)

0

# #

Levine (2002)
pizzicato is produced
normal

the
the
tongue
by modifying

# of the tongue.

articulation
The
tip
of
the
tongue
lies
firmly
on
the
roof
of
the
mouth
)*
+,+

$$
*
air stream,
to the bottom

by a strong

and
then,
supported
is
explosively
thrown

(2002,

p. 25). In Floating
Embers, the slap tongue is used for example in the first Eb
of the

!"

bar 19.

$ $ $ $
$ $ $ $ $ $ $ $

$ $ $ $ $ $

%&

%&
%&

%&

#

explains

that

#

#

$ $

#

1
1

Floating

Example
27.
Embers,
bar
18-19.

.
$ $ $ $ $ $ $ $ $ $
#

.
%&

-
.

1

1 /

$
#

24

1
#

.
)*
+,+

.

. $ $ $ $ $ $

$$

#

)*
+,+

Jet Whistle

!"
!"
semi-pitched resonances of
Robert Dick (1989 p. 142) defines jet whistles as breathy,
$
$

$
$

$
$

$
$

$
$

%& hole between the lips and

flutes
the embouchure
tube, produced by placing
the

effect.
into the flute. It results

blowing
in a very
directly
loud and aggressive

/

$
#
-
.

#

)*
+,+
$ $ $ $ $ Example$28.
$Floating
$ $ Embers,
$ $
$ 28.
$ $
bar$27

$
!"
embouchure

Trumpet

Levine (2002, p.18) defines trumpet embouchure
3
as a tone

created through a
#
combination
of
lip
tension,
air
pressure
and
resonating
spaces.
The lips are pressed

together and vibrate
a strong exhaling pressure.

through
tightly

#

combination between

Floating
Embers,
the
the
trumpet
embouchure,
produced
on

In

the embouchure
hole,
and the
fingers moving
in afast
trill,
creates

a very innovative

$
%&

and fun texture.

+%
-
.

/

$
#

Example 29. Floating Embers, bar 29-30.

$$
*

2.2. Second Section:

MYSTERIOSO
second

In the
Embers,
part of Floating
a melodic character replaces the effects of the

melodic line, which is disturbed by the
first part. The flute has
a calmcantabile
introduction of the flutists voice in bar 48:
&'

&'

&'
#

2
2
Example 30.

Floating Embers, bar 48-49.

/
/

25

Here the flutist should sing the phoneme ta-ke-te in the notated pitch, different from
the pitch of the flute sound, creating multiple sonorities. The flutter tongue is the only
effect introduced in the first part that is also used in the Mysterioso (except for

singing and playing).

2.3. Third

Section:

INTENSE

1

1
1

1
1

The Intense part starts with a canonical duet between the flute and the singer. This
final part of the
piece can be
subdivided
in two, according to the different uses of the
singing
and playing technique. First, in bars 59 to 67, the singing and playing
is explored
as in the Mysterioso,
through

technique
the thematic phonemes ta-ke-te.
The difference
is that in this
the
flutist sings only in octaves with the flute
1
1 third
part
1

line.


Singing in unison or octaves with the

note played is fairly easy to perform and produces
little or no modulation. Singing in others intervals with played note is more difficult [].

(Dick,
1989, p. 143)

bar
end, and gives

67
A new
material
last
is presented
from
to
the
to
this
# thematic

part

flutists
voice

its
main
character.
The
use
of
the
reaches
its
maximum
complexity
in
this section. Here the flutist
has to
sing a melodic
bass line, and simultaneously play a

flute.
1

melodic line
The
intervals created by the two lines give the harmonic
in the

progression.

#

1

Embers,
Example
# 32.
Floating
bar 73 to78.

here
toinvert the typical
of
The
roles
the flute andthe singer.
Thecomposer

wanted

flute creates chords and a melodic bass line, and the soprano sings in a very high

register, the typical register of the flute,
imitating a flute. As result, we have a melting
the
between the voice of the flutist and the voice of the
singer. It can be tricky for

audience
todistinguish
the
singer.
flutist

issinging,
or the
#
who

1

26

#

This is the most difficult part for the flutist when it comes to the use of the voice. The
challenges and solutions found through practice will be discussed in more detail later
in this chapter.
One last interesting detail of this piece concerns the singers part. The composer
explores a very high register of the voice, culminating on g3:

#

# Embers and the use of the flutists voice
3. Floating


Floating Embers is an innovative piece, since it combines flute sound not only with

the flutists voice butalso with
the voice
now,
of a singer.

Until
in my research
about

other pieces that use the voice of the flutist, I found only one written for this kind of

setting.

como regatos e rvores (2006) by Rafael Nassif, a Brazilian composer, is

writtenfor flute and voice (baritone). In this piece the flutist has to sing while playing.

pedaland
Here we have an
flutists voice
singing:
excerptwith flute

#

#

Example 34. Rafael Nassif, como

regatos e rvores (2006).

In
Floating
is used in a traditional
established way (if

Embers, the voice of the flutist
voice of the
normal and traditional can be used in this kind of context). The

flutist is always explored as a singing voice, but mainly in two different ways. Most

/

$
#
#

27

3

of the time, the composer uses the voice to create a counterpoint of distinct melodic
lines, exploring the polyphonic facet of the flute.
An excerpt of the third part of the piece
shows us an example of flute pedal with

moving voice.
While
the
flute
sound
sustains
a C, the flutist sings a melodic line.

#

bar 67 to71.

Example 35. Floating
Embers,

#

Another
excerpt
from
the
third
part
(Example
36)
shows
us
again
an
example
of

singing voice
while playing, butthis time in its maximum
complexity and difficulty

#

Example 36. Floating Embers, bar 79 to 84.

voice

Each bar can
an
of
pedal
separately
example
with

flute
be
considered

amoving

#

part, but in a larger context, the bass line that the flutist should sing is also moving.
Here, the singing
line is not only a color added
to the flute sound, but it has an

important harmonic role, creating
chords
through
a
bass
line. Thisuse of
the voice is

very tricky and requires a lot of practice so that the flutist is able to
remember

to sing

voice
the right pitch
with a good intonation
between intervals create
by the flutists
and the flute. Its also necessary/

$
#
to find a good balance between the voice and the

flute sound
and keep the continuityof
both lines.

#

The other
kind of using
the singing
voiceof theflutist, not
as a second
melodic
line,

3
articulation

was to use the voice
as
a
color
to
produce
a
different
kind
result
in
the

sound. The
flutist
has to
play repeated
notes
while
singing

ta ke te.

28
!"
!"

#

1

1
1

1
1

$
1
1
1
1 1

of combined syllables (ta-ka-ta / te-ke-te/
du-gu-du) appears
in most
of the
This #kind

1for the tongue
flute methods, but usually the syllables are used just as reference

position, to produce
different tongue attacks. It meansthat
imagines

the
flutist only

and tries to
the
syllables
keep the mouths shape, but doesnt use the vocal cords. In
this piece, the
composer
asks the flutist to sing while playing, so the articulation

1

becomes noisy, rough, even grotesque. The challenge here was to produce a clear
staccato sound. The composertakes advantage
one aspect
be seen as a
that
could

of

limitation.
#

sonorities
1

Unless the flutist has an exceptionally clear voice, however, the multiple
created by singing
and playing simultaneously are usually of a rather coarse, often noisy timbre. (Dick, 1989, p. 143)

We can find this kind of articulation in Elia (1984) by Philippe Hurel. The sounds

1

te-ke-te are spoken, without
simultaneous flute
playing, and not sung in a specific
pitch asin Floating Embers.

#

1
Hurel,Elia
Example 38. Philippe

(1984).

#

1
1
4. Practicing Floating Embers: challengesand solutions

In this section, specific
passages
in Floating Embers where the flutists voice is

requiredwill be discussed. The focus will be the challenges Ive faced and practice

tips that Ive found during my practice
of the
piece to solve those challenges.
Floating Embers was the first collaboration in my Master project. Even if I had some
previous experience of extended flute techniques, the use of the voice while playing
was a new technique for me. Levine (2002) suggest a simple practice tip for flutists
that are starting to learn singing and playing: The flutist should produce a vocalized
sound while exhaling without the flute, then move the flute slowly towards the mouth
and increase the intensity of the air until a flute tone appears. One important point to

29
focus on is that the outside neck muscles should be relaxed. The air pressure must be
strong enough to overcome the resistance presented by the vocal cords. (Levine, 2002,
p.20)
One of the first challenges I faced practicing Floating Embers was that of finding a
good balance between the melodic line produce by the flute and that produced by my
voice. When I started practicing the piece, I could sing quite loud but then I lost the
focus of the flute tone, or I could produce a great flute tone but then my voice was too
soft.
Finding a balance has to do with the relation between the lines. For example, if the
voice is used to add a color in the flute line then the flutist can sing softly. If the
singing line has an important polyphonic role, then the flutist can aim for an equal
balance between the lines. Or, if the flutist has to speak a clear text, then the voice can
be more prominent than the flute sound. The flutist should develop through practice
the ability to perform with all these different kinds of balance.
Another challenge is one that is directly related to singing: to remember the right
pitch. As a flutist, I didnt have so much training in that, just normal solfeggio
education. And it was really hard to sing a tone while the fingers press another tonekey in the flute. In the beginning, the voice automatically sang in unison with the
flute. It took some time to separate the movement of the fingers from the voice. One
strategy I used was to sing the melodic line without blowing in the flute, but just
moving the finger positions, so I could separate the two melodic lines in my mind.
Through practice I found some solutions that helped me a lot. I had great help from
Robert Dicks Tone Development through Extended Techniques. Robert Dicks
Throat Tune technique was introduced in the previous chapter. Here Ill mention
one of the exercises he proposes that proved very helpful in my own practice.
Example 39. Robert Dick (1986, p.10), Throat Tune Exercise.
This exercise (Example 39) can be adapted to specific passages in a piece and is a
great tool for memorizing the singing part; at the same time it also helps improving
the traditional flute technique (as we discussed previously in Chapter 2, section 5,
throat tune allows the flutist to achieve maximum resonance of the flute sound).
Now the passages of Floating Embers that require the use of the flutists voice will be
presented with my systematization of the learning process:
30

$ $ $ $ $ $4.1.
$Passage
$ $ from
$
((
bar 19
$ to
$ 26:
$Voice
$ $glissando
$ $ $with
$flute
$ pedal


In this example we have flute pedal with moving voice. The flutist starts to
Challenge:
$ $ $ $ $ $sing
in
%&
unison
difficulty

here
is to sing

with the flute. The major
a clear glissando and
keep the dynamics required by the composer.

-
.
Practice
Tips:
the glissando from the Eb to the F# with the dynamics written

/

$
#
Practice
in the
score only
voice. When its comfortable, just sing and play. The main
with
3
the
voices.
singer

to blend

idea is to work with the
the two

$$
*

4.2. Bar 37
%
2

+%

1

#

%


*$#

In this example the flutist has to sing an F and play a C#.
Challenge:

%&
%&

%

2
2


1

1
.

/
31

2

/
%

The F from the

so the
in the previous
bar;it is the
final note of
the singersphrase,
voice
can
be heard

flutist should pay attention
and take &'
the tone from&'there. The
difficulty
here
is the
&'

&'

dynamics indicated, in the pp dynamics, the natural tendency is to play the C# in the
flute an octave lower.

of the

Imagine
Practice
Tips:
the sound
of the C# in the second octave
flute,
%
just
singing.

helped

find the right

imagination
before playingand
This memory
me
to
2
2
C#.

4.3.
Passage
from
bar
47
to
52:
Singing
ta
ke
te
in
different
tones

/

/

%&
.

/

Challenge: The passage has been discussed previously in the section 3 of this chapter.
Here I took the example of bar 49 to 51, but its valid for the whole passage from bar
47 to 52. The challenges are: to remember the right pitch and find a good staccato
articulation.
Practice Tips: For the voice memory training I found good results following these
steps.
a) Play the voice line with the flute:
Example 43. Practice Journal.
b) Play the flute and sing alternately (dont play the flute part during the singing
part)
c) Play the flute and sing alternately (dont play the flute part but move the
fingers)
d) Play and sing as written
32
4.4. Passage from bar 55 to 66: Sing Ta-ke-te in octaves with the flute line

#
1

1
1

1

Example 46. FloatingEmbers, bar
55 to 56.

its much more simple to sing in octaves with the flute line, the
Challenge: Although
$
1
1
1
challenge of singing and playing a staccato articulation is still the main focus.
1
Practice Tips: Practice slowly, singing and playing simultaneously as written until its
possible to
produce
a short and clear articulation.

#

4.5. Passage from

bar 67 from 72: Flute pedal with moving voice.

#
1

1

#

Challenge: In this passage the major challenges are to find a balance

between the
Example 47.
Floating Embers, bar 67 to 72.
flutists voice and the flute line and to sing the tone G from bar 72 (since its a

difficult
interval to sing and play simultaneously).

#

Practice Tips:

1

to practice
the two

the passage
a) For
the balance

between
starting
I recommend
lines

with
a good tone in the voice
and an air sound in the
flute line, then slowly increasing

1

the pressure
of the air to find a focus sound on the
flute. After several times
it

becomes natural for the lips to sing and find a good C tone directly.

#

#

Example 48. Practice
Journal.

1

#

33

#

b) During the practice, playing the voice line with the flute proved to be the best way
for memorizing the voice part.
c) To solve the difficulty of singing the tone G while playing an A in the flute (bar 72),
I practiced starting to sing the G a little bit earlier, in unison with the flute. It worked
very well and it allowed me to be confident of the tone I had to sing.

Example

50.
Practice
Journal.

d) Play and sing as written

#

89:
4.6.
from bar 67to
The complexity
distinct
lines
Passage

of
singing
and playing

#

Embers,
Example 51.
bar 73 to 78.
Floating

The specific difficulty

Challenge:
here is to memorize
the vocal part and
to find a
good balance between the voice and the flute part. In this part the voice line has

line;

harmonic significance
a bass
to find
a good tone
its therefore

inbeing

important

#

and continuity
during
the
whole
section.

I found

results
good
following
these
Practice Tips:
steps.

a) Play only the flute part, with
a natural open sound,
legato and a very continuous air
stream.

#

34

/

$
#
#

b) Play the
voice line with the flute (an octave higher, because of the flute range) to

memorize
it

%

!

Journal.

Example
53. Practice

voice
to memorize
sing
find a continuous

in octave
the

c) Play and
and
air
line,
to

%

flow

%

Example 54.Practice

Journal

d) Sing the whole voice line and only move the fingers from the flute part

%

e) Sing
and
play
as
written

Passage

4.7.
from bar89 to 96

%

Example
55.

Embers, bar 89 to96.

Floating

4

%

%

35

4

Challenge: The only difficulty is to find the tone D with the voice, as it has not
appeared before.
Practice Tips: I have no specific recommendation. Its a question of memory training,
and it requires from the flutist to practice their inner ear. I used the tone C, played in
bar 88, to find the tone D.
5. Collaboration
5.1. Introduction
The collaboration with Olle Sundstrm started when I was looking for composers
interested in this research project and available for participating in it. As described in
the introduction to this chapter, he took the initiative to contact me and he had a
strong interest for using the singing voice of the flutist. When he first contacted me,
he had already in mind the setting of the piece: a duo for flute and soprano. The singer
that would participate in the project was also chosen: Josefine Gellwar Madsen, a
soprano with whom he had already collaborated in other compositions of his.
The first contact we had was in May 2012, through an informal conversation. The
actual collaborative work started in September 2012. At this point, we had our first
meeting with defined roles as composer and performer, where I played for him some
extended techniques presented is this chapter as trumpet sound, tongue ram, slap
tongue and some possibilities of using the flutists voice. After that first meeting, the
composer showed me some sketches and soon after that we started the rehearsals of
the first version of the piece with the singer.
The process of composing the piece was from September 2012 to November 2012.
After that, only small adjustments were made to the score. The piece was premiered
in December 2012. Most of the collaboration consisted in rehearsals with me and the
singer and discussions on the realization of the score. Even if the piece was mainly
finished in November 2012 the collaboration remained until April 2013. A studio
recording of Floating Embers was made in March 2013. The composer remained very
active and interested in all rehearsals, recording sessions and performances.
5.2. Collaborative patterns
One of the aims of this research is to explore the use of the flutists voice through
collaboration. Here Ill try to describe the impact I had as a performer during the
collaboration process. Ill look to the interaction and changes made to the piece
during the process of composition of Floating Embers.
Returning to the patterns of collaboration presented in Chapter One, two models of
collaboration proved relevant to this research: John-Steiner (2000) and Hayden and
Windsor (2007). Its always difficult to categorize such a complex process as an
artistic collaboration. My intent is to conduct a dialogue with these theoretical models,
not to downplay the role of the experience.

36
John-Steiner presents four patterns of work collaboration: Distributed,

Complementary, Family and Integrative. My collaboration with Olle Sundstrm was
mainly of the Complementary kind, with small traces of Integrative collaboration.
The reason for classifying the collaboration as complementary was based on the
respective roles: the composer did the writing and I did the playing and gave feedback
on flute notation; we discussed how to translate his ideas on sound into flute notation
and the possibilities of using my voice. Our conversations served as inspiration and
material for his compositional ideas.
I also found a pattern of Integrative collaboration in our work. We shared a desire to
explore new possibilities of music. Even if a simple detail such as using the voice
while playing doesnt seem so revolutionary, I believe it was the beginning of an
integrative pattern. I cannot say, however, that it was a fully Integrative
collaboration, for two reasons. First, the composer already had a passion for the
singing voice before starting to exchange ideas with me. Second, Integrative
collaboration requires prolonged periods of committed activity and we didnt had
enough time to develop this kind of relationship.

Hayden
and Windsor (2007) discuss patterns of artistic collaboration specifically

applied to a musical
and propose three distinct categories: Directive,

context

Interactive
and
Collaborative.
with Olle Sundstrm can be
My collaboration
considered Interactive, mainly because
it included negotiation

between composer

andperformer, but
the
composer
is
still
the
author
of
the
piece.

5.3. Examples

*$#
of negotiation: focus on the flutists voice

As the piece was commissioned
for this project, the main impact that I had in this case
is connected to my own voice. The process of collaboration was centered in details

around the possibilities and limits of my own voice. This discussion will be
reintroduced in Chapter 6.

The

and timbre. When it came to the question

piece
was written tofit to my register

whether it could be played by another
flutist with a low voice, the composer
2
In one of the
versions
of Floating
Embers the composer wrote a tone, f , that was
have the grotesque effect, so we decided to
quite high for my voice and also didnt

it by one
octave
lower

%&
that it
was possible
but would result in a different piece.
commented
%&

%&

1
1
Example 56.

Floating Embers, bar 47, earlier version.

.

.
37

&'
&'

&'

($#

2
2

Floating
final version.
bar 47 and 48,

Embers,
57.
Example

to the

One of
the changes
piece that the composer made during the rehearsals was

passage in the piece I had to sing at a pitch for
/

At
/
related to
memorizing
a pitch.
one
which I had no previous reference, so we agreed to change it to one that I had just
In bar 48
played
and could
easily
remember.

the tone A (in the flutists voice line)

(Example 56, bar 48). This made it
by thetone
was replaced
F in
the
final

version
for other
easier
for me and
flutists that
will play this piece but didnt affect the
ofthe sound.

%&
idea %&
composers
main

%&
2

2

/

/
/

/

Example 58.

Floating Embers, bar 47 - 48, earlier version.

/

6. Reflections
,

,
One aspect
of thecollaboration that was not discussed until now is the role of the

singer in the
She
was involved
partnership.
in this project only as a performer and she
didnt

have
a thesis
oracomposition
to write. Naturally, she wasnt as much involved

in the

for several
/ discussions
as
we
/ were

reasons such as shortage of time or lack of
remuneration
for
her
work.
Still,
the singer was a very committed performer and

/

interested in the piece. She also had a great influence on the piece and we should have
found a way to exchange and integrate more our ideas about the collaboration.
The informal
part of the collaboration with Olle, short conversations in the corridor,
break,
for
example,
had a positive impact on the process.
or during a coffee

,sessions
$ and
$ rehearsals
$ $ $ $
be a little uncomfortable or rigid in the
Experimentation
can
beginning, when you dont know the composer in advance. Small informal moments,
including
after a concert, are extremely
e-mails,
phone
calls
and short conversations
important

to
create
a
more
spontaneous
bond
that
will
be reflected in the actual

collaboration work. Something that I believe to be part of my strongest input in the

process of the composition of Floating Embers started with a question asked by the
composer in the corridor of the school: What can you sing? The special agency of

my voice in
the process of collaboration

will be discussed in Chapter 6.

,

$ $
$
composer
and
involved

The
in the project were satisfied with the piece,
the musicians
,

$
$

$

,

$
$

the final score, the first performance and the studio recording. The composers

38
interest in the singing voice allowed him to explore deeply that aspect of the
technique. Even if my input consists in small details, these details shouldnt be
underestimated. In these small exchanges, great creative ideas can grow. The
collaboration worked marvellously, also with the deadlines, a very important detail in
a project linked to a thesis.
Figure 6. Olle Sundstrm, Marina Cyrino, Mattias Wessel and Josefine Gellwar Madsen recording
Floating Embers, Pite, 2013.
39
Keep the Night from Coming In
1. Introduction
This chapter presents and discusses the piece Keep the Night from Coming In (2013)
for solo flute, the result of my collaboration with the Swedish composer Lisa
Stenberg4. The piece was also commissioned for my Masters project, to explore the
possibilities of using the voice of the flute player. I will present an overview of the
piece and discuss the use of the flutists voice in this context and my collaboration
with the composer, which will be compared to that described in the previous chapter.
The collaboration with Lisa Stenberg started in November 2012, in the context of this
research. She was suggested by one of my flute teachers, Sara Hammarstrm, as a
possible composer that would have an interest in participating in a collaboration
project. Lisa had also studied in Pite, but when I started my project she had already
moved to Stockholm. An important difference from the previous collaboration is
related to the distance. We met in person only four times. The greater part of the
process was thus conducted through e-mails and Skype meetings. Our collaboration
started with an e-mail, where I explained my research project and asked if she was
interested in joining it. Luckily, she showed great interest, and we developed a rich
collaboration.
Another strong contrast to the collaboration with Olle Sundstrm was the duration of
the compositional process. Lisa Stenberg and I started to exchange ideas in November
2012 but the piece was not finished until April 2013, exactly two weeks before I
started writing this chapter. The process of experimentation was very long and

4 Lisa Stenberg: Composer,
Performer, Sweden. In, 2007 she began her studies at the Bachelor Program in Music,
Composition at the department for Arts, Communication and Education, Lule University of Technology under the
guidance of Professor Jan Sandstrm. In 2010, she entered the Master Program in Music Performance,
Composition. As a composer, she embraces ensembles of various sizes and constellations, ranging from symphony
orchestra to solo musicians. She is working with acoustic music, electro acoustic music and combinations of those
expressions. Non-musical ideas and the sounds themselves are often at the center and the starting point for her
work in which the ideas are explored and molded into a sonic shape.
During the years she has also collaborated with dancers and performance artists, created sound design for theater
and composed for documentary film and art film. As a performer she appears with sound works and
improvisations based on real-time processing of different sound sources, solo as well as in different constellations
with other musicians or dancers.

40
interesting and the time to practice the final version of the piece was very short. The
piece has not yet been performed in public. A studio recording has been made for the
purpose of this research. All these factors will affect the structure of this chapter. One
very important remark is that the collaboration with Lisa Stenberg is still in progress.
Even if the piece is mainly finished, small changes in the score are still possible.
Even if Keep the Night From Coming In just got out of the oven, I feel comfortable in
presenting the several aspects of the flutists voice. I have a lot of material to discuss
in this chapter due to the amount of sketches that the composer produced. A large
part of the material for the piece was already present in the sketches that I tested and
discussed, beginning in February 2013.
Figure 7. Lisa Stenberg and Marina Cyrino in an Experimentation Session, Pite, 2012.
2. Keep the Night From Coming In: an overview

2.1. An open score
One of the most interesting outcomes of this collaboration regards the form of the
piece. Keep the Night from Coming In consists out of seven sections, which are free
for the performer to play in any order. The requirements of the composer are the
following: all sections shall be played at least once; all sections shall be performed
from start to end; sections may be repeated at a maximum of three times but never be
played more than twice in a row. I understand the form of the piece as a direct
outcome of our collaboration and I will discuss this subject in depth in section 4 of
this chapter.
The open nature of the score will also affect the structure of this chapter, in contrast to
the structure of Chapters 3 and 5. Rather than presenting linearly all the specific uses
of the flutists voice and then discussing the challenges and solutions arrived at
through practice, each section of the piece will be presented separately. In each
section the focus will be the description and discussion of the use of the flutists voice
and relevant comments.

41

Composed for Marina Cyriano
Commissioned
byclosed
Marinaembouchure
Cyriano
2.2. Open,
half open, and
One of the distinctive features of the piece is that it explores a very interesting aspect
SOLO
FLUTE
of the flute:
the closed
embouchure.
Performing
notes
In the score
Lisa Stenberg
indicates a range of degrees of openness of the mouthpiece:
open, half-open
and
closed.
Open embouchure is the traditional position of the lips. In
General
the closed embouchure, the flute player produces sounds by sending breath through
piece consists
out ofp.1).
7 sections
A-Gshould
wich arecover
free for completely
the performer to
in any order.
the fluteThe
(Manabe,
2008,
Thenamed
flutist
theplayembouchure
with theAlllips
and
air from
sounds
sounds. In chapter 2, musical
sections
shallproduce
be performed
start toor
thevoiced
end.
examples
usingmay
thebeclosed
were
13,more
14 than
andonce
15).in a row.
Sections
repeatedembouchure
at a maximum of
threeintroduced
times, but shall(Examples
never be played
No paus between the sections should be made.
A peculiarity
of the closed embouchure is that is not possible to produce a regular
flute tone
with
thisi specified,
technique.
Blowing
inside
hole
doesnt produce
If nothing else
the notated
dynamic
is validthe
for embouchure
both flute and voice
system.
the friction needed for producing a flute tone. The possibilities of using closed
Flute
embouchure
are air sounds, singing or whispering.
closed embouchure.
open embouchure
Example 59. Keep The Night from Coming In, performance notes.
The broken (dashed) arrow indicates a gradual shift
The transitions between half and closed embouchures allow the exploration of
different colors for the air sounds. Flutists can play with many shades of air sounds
and whispering voice. The closed embouchure results in a hollow, stifled sound.
Only air sound
2.3. Extended
flute techniques
Keep The Night from Coming In contains numerous relevant extended flute
techniques: multiphonics, key clicks sounds, air sounds, flutter tongue, embouchure
glissando, whistle tones. The techniques that werent mentioned in the previous
chapters will be described briefly.
Shift graudally from only air sound to full tone
Whistle tone w.t
42
mf
j
>
j
> > >
j
>
j
>
> >
to
j
>
j
>
flz.
brato
to
to
Multiphonics
mf
j
>
gliss.
mf
j
b
p

t - t - t - t - t - t - t - t
to
j The flutes
capacity
produce from two to five pitches simultaneouslythhas been clearly

and has historical
> established,
o roots that go back as far as the early 19 century. (Dick,
chi - o
LISA
to STENBERG
to
1989, p. 83)
mf
gliss.
j
bb
Acquiring a fluid multiphonic technique is a long-term process, and a major challenge.
flz.
wealth of the flutes
multiphonic capacity is extraordinary, and each player will
glissThe
.
mf
undoubtedly
find the types of sonorities
that most speak to him or her. (Dick, 1986, p.36)
p # #
gliss.
f
mf
In Keep The
Night
from Coming In threemfmultiphonics are used, and they are one of
gliss. piece,
the bmost difficult technical challenges
if the flutist is not familiar with
gliss.
of
the
b
the technique:
o
p
mf
mf
Example 60. Keep the Night from Coming In, section A.

flz.
R
#
gliss. b
o ppp mf o ppp o
pp
mf
to
. o mp
p

.
b. n. . . . .
o
p
flz.
A multiphonic is an extended technique in instrumental music in which a monophonic

one note at a time) is made to produce
j j instrumentO (one which generally produces
#only
> > several notes at once. (Robinson, 2011,.p. 9)
o mp
p
to

t - t - t - t - t - t - t
o
p
gliss.
mp
mf
Example 61. Keep the Night from Coming In, section C.
Key click without flute sound:

Key clicks without sound are purely percussive events, which depend on the resonance
volume of the body of the flute. When the embouchure hole is covered by the lips, the key
clicks will sound a major seventh lower. (Levine, 2002 p.27)
Key clicks
Example 62. Keep the Night from Coming In, performance notes.
Voice
In Keep the Night From Coming In the key click sounds are used as percussive effects
with open and closed embouchure, but also in between.
Unvoiced sound
Unvoiced whispering
Ch as in Bach
Voiced sound (sing)
43

> >
&
mf
&
> >
s
to
gliss.b
o
mf
o
p
mf
& <b>
gliss. b
ppp
mf
mf
wide vibrato
C extremely

&
Embouchure
glissando
. . . .gliss.
. . . . b o
mf
pp
#
n
o mp o o
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
.
. . . .

. . b. b n
&
b n
b. n. . .
ppp
mf
wo
Example 63. Keep the Night from Coming In, section B.
. . . .gliss.
. . . . b
ppp
mf
pp
mf
J
ppp
mf
Glissandi
in flute literature can be understood as seamless transitions from one tone to
&
another. They can be Embouchure or Fingering glissando. Keep The Night From
Coming In uses embouchure or lip glissando. The technique is produced by changing
Copyright 2013 LISA STENBERG
the lip tension or by turning the instrument inward (to produce a descending
glissando) or outward (to produce an ascending glissando) (Levine, 2002, p.45).
o gliss. #
O
o
glisbs.
mp
gliss.
b b o
#
nO
o
3
R
ppp
mf
mp
j j
> >
j
>

> b>Timbral
trills
cha
>
j
>
cha
b
rK
> > >
> > > > >
j
fingerings
Timbral
trills
are between
two notesof the
same Krpitch. Trillingj alternative

>
> > >
> > > > >
>
>
of this same tone produces the variations of the same tone. This technique produces a
cha
cho
cho
cho
cho
cho
to
to
to
woh!
coloristic effect in a same tone.
j
>

b n
Whistle
j j
> >tones
>
j
j slow
j
extremely
j focused
but
air stream
across the edge
of the embouchure hole
> >
>
> > >
>
cho
fz
cho
>
cho
. w.t
J
pp
b
#
mf
j
>
mf
b
> > >
The flute whistle tone, also known as the flageolet, is produced by blowing an
Whisper
over the edge of the blowing wall
cho
chotones are
woh!the sound of the
cho air breaking
cho
cho
cho
without exciting the air in the flutes tube into vibration. (Dick, 1986, p.26) Any
standard fingering can be used, but low-octave fingerings enable the flutist to produce
the harmonic
throughout the flute range.
w.t
. series
w.t
b
b o bw.t
b o
nw
tones are
echo of a loud
In Keep TheJ Night from#Coming In, whistle
used as abdelicate
b
flute sound.
pp
fz
pp
o mp
o fz mf pp
fz
mf
b n
n .
44
#
o mp
p - to
> b>
>
f
>
woh!
p - to
j
>
j
>
pp
to
mf
o - to - to - to - to - to
. w.t
J
ubato
cho
fz
t and gentle
>
cho
j
>
>
cho
j
>
cho
. w.t
J
pp
= 55)
fz
>
pp
j
>
cho
j
>
woh!
cho
>
>
cho
>
cho
cho
w.t
. b
b o bw.t
b o
COMING IN
JKEEP THE
# NIGHT FROM
b
b
pp
pp
o mp
o fz mf
fz
mf
fz
nw
w.t
pp
j j O
j
j
j
j
j
j
O
O
O
O
O O
O
>
>
> >
>
>
>
> > >
pp 2.4.p The use

mf of the flutists
pp
p
mf
pp
p pp
mf
voice
Gmf flz.
b
j j
j
j
j
> > # n
> # #
.
>
>
> >
2.4.1.
The
melting
points
to p
to
to
to
to
to
to

o mp o
p
3
Keep The mfNight From Coming In plays around limits and boundaries. The piece
flz.
explores the melting
point between
flutists
and the flute sound, between
b the
n j voice

j
j
j
j j
O
O
O
gliss.(open
spaces
inside
and
outside
thea flute
b and> closed >embouchure),
>
> >
between
whispered
3
Example 65. Keep the Night from Coming In, section E.
and voiced sounds, mf

between the
p air and the flute tone.
pp
p
j
Composed
for Marina Cyriano
gliss. b
Commissioned by Marina Cyriano
t - t -

> >
mf
> >
s
to
Key clicks
>with the >flute sound. Whisper sounds

>
andto>
tThe
- t - tvoice
- t - t -of
t the flutist
o is always blended to
to
to
Voice
singing in octaves with the flute line are the two main modes of using the voice while
SOLO FLUTE
playing.
extremely wide vibrato
j
>
The following example

shows us exactly
nof blending
that permeates
# the
feeling
thegliss. b
gliss.b
piece.The
whole
flute line starts with air sound, then the singing voiceof the flutist is mf
3
mf
combined
in octaves owithppp
the air sound,
and subsequently
the air sound of the flute
p
mf
Performing notes
o
p
General
Unvoiced sound
The piece consists out of 7 sections named A-G wich are free for the performer to play in any order.
All sections shall be performed from start to the end.
Sections may be repeated at a maximum of three times, but shall never be played more than once in a row.
Unvoiced whispering
Ch as in Bach
chi
to
Voiced sound (sing)
- o
mf
line
In one musical gesture the composer explores the incertitude
becomes a tone.
b
ofgliss. b
is it voice?, is it air?, is it flute sound?
o
No paus between the sections
gliss. should be made.
If nothing else i specified, the notated dynamic is valid for both flute and voice system.
mfFlute
#
n
o mp o o

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
. . . . .

. . b. b n
closed embouchure.
mf
open embouchure
b n
mf
.
b. n. . . . . .
Gradually shift from unvoiced

whispering ch to voiced o
ppp
mf
The broken (dashed) arrow indicates a gradual shift

wo
wide vibrato
xtremely

. . . .gliss.
. . . . b o
mf
pp
. . . . . . . . b
gliss.
Only air sound
ppp
mf
pp
mf
J
ppp
mf
ppp
R
o
mf
ppp
Shift graudally from only air sound to full tone
2.4.2. Consonants, vowels, syllables
Keep The Night from Coming In is full of different consonants, vowels and syllables
indications in the voice line (t, wo, s, cho, a). These nuances create a
delicate
variety
in the timbre and articulation of the musical gestures.
Whistle tone
w.t
45
ppp
mp

&
&
mf
mf

t - t - t - t - t - t - t - t
&
gliss.
gliss.
j j
b
>
j
b
j
>
j
>
pp
j
>
to
to
# n

> >
mf
&
> >
gliss.b
o
mf
gliss. b
ppp
mf
In, section B.
Example 67. Keep the Night
from Coming
D
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
gliss.
# o n
. . . for whispering
&different
<b>
b b
The
. . . b. b nvoice and singing voice. When
o indications
gliss. areo used
.gl. issboth
#b. n. . .
#
are sung unvoiced, the timbre is richerglthan

o mp o o ppp mf
vowels
In addition,
O
isbs. inmfnormal
singing.
&
O
whispered singing through the flute produces clear distinctions of timbre (Manabe,nO
o mp
& p.9).3In the following example,
n
3
pb between
2008,
the
cho and cha became 3
p
o difference
mf
mp
wo
very
because the small
&clear because of the use of the whispering voice but also

osensitive to details.
changes
that
occur
throughout
the
piece
make
the
listener
more
wide vibrato
C extremely

J
R
&
gliss.
gliss.
b
. . . . . . . .
E
o ppp mf. . . . . . . pp.
o ppp mf
o ppp mf
mf
pp
mf
Kr
j >
j
&

b>
b>
>
>
> b> >
> > >
&
> > > >
&
mf
j
>
cho
to
>
o
p
>
cho
cho
&
mf
j
>
>
cho
>
cha
cha
>
cha
cho
> b> j j
> >
3. Keep the Night from Comingf In: the>seven sections
3.1.&
Section
A

to - to - to - to - to - to
>
cho
>
cho
>
cho
Kr
>Copyright
> 2013
> STENBERG
> > > >
LISA
>
j
>
cho
j
>
cho
j
>
cho
cho
cho
woh!
j
>
>
cho
In the first section of Keep the Night from Coming In, the flutists voice is first used
as whispered or unvoiced, always mixed with the air sound of the flute. In the first
w.t
gesture of the . piece
whisper the. syllable
to with closed
w.t
w.t the flutist
. should
b
o
F
b sound.
embouchure (inside the embouchure hole), creating an articulated but muffled
J mixed with
# the air sound
The&
result is an Jexplosive but veryJdelicate whispered
sound,
b
of the flute.
pp
fz
fz
pp
fz
pp
&
Rubato
>
cho
cho
bw.t
pp
mf
fz
(q = 55)
G A
flz.

&
j
Flute &
p
>
mf
& >j
&
Voice
to

j #O n O # j# j O b n O

> > p
3>
pp
j
>
to
mf
mf
pp
j
>
to
flz.
46


&
&
>
to
KEEP THE NIGHT FROM CO
Soft and gentle
o fz
mp
to
b
> > >
cho
to
j
>
mf
j
>
cho
mf
j
j
n O . O O
o mp o
>
>
mf
pp
pp
j
j
gliss. b
>
mf
gliss.
j
b
j
>
j
>
j
>
pp
pp

j j
> > O
mf
pp
j j O
>
>
mf
pp
pp
j
>
mf

j
> > >
the
j Later in the section the whisper voice became singing voice in octaves
j with
j flute
> line.
>
>
> >
to
flz.

jp
>
>
gliss.
pp
>
to
t - t - t - t - t - t - t - t
j
j flz. j
gliss
.
>
>
to
to
to
t - t - t - t - t - t - t -
LISA STENBERG
bj j j
j
mf
>
> >
to
gliss.
mf
to
j
b
p
j
>
j j
> >
to
to
chi
j
>
j
>
j
>
to
- o
j
j
>
>
>

flz.
>
b
FROM
COMING
IN
transition
between
o
- t - talso
- t - in
In
section,
t -the
#t- twhole
# #
t and
- t piece,
n the
airsounds
gliss. b to flute
s.b to
to
glistothis
mf
tone and whispering voice to singing voice

will be recurrent.
3
gliss. b
j
>
O
o
p
pj
>
to
O
j

. #
flz.
j p
j
j
>O O ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
o mp
gliss. b
#
n

. . . . .
>
> >
. . . .
>
.
ppp
mf
o
p
mf
. b n
. . bmf
pp
j
>
mf
b - no
chi
to
j
>
oj
> > >
to
to
gliss. b flz.
.
.
.
.
.
.
.
.
b mf j pp jmf j
O ppp
B #
b 3.2.#Section
>
> >
to
mp
po
gliss.
gliss.
pp mf
to
#
mp
ppp
mf
o
p
gliss.
gliss.
mf
mf
mf
R
o ppp mf
o
gliss.
p
flz.
# #
ppp
o
p
mf
.
b. n. . . . . .
ppp

ppp
#mf
mp
mf
n
o o
b. n. .
o# ppp o
mp
gliss.
gliss.
mfsinging voice, always in octaves with

Inf this section
voicej of the
is used as
mf j the
j flutist

the flute line.
of this section
is that it introduces for the
> One particular
> > characteristic
gliss.
chi
o
theflute sound.
b oThe only challenge is to
to singing to
first time the
voiceto starting before
sing the right pitch, but in all examples oin this piece, the note to be sung appears just
p
before in the flute line.
mf
mf
ppp
mf
t - t - t - t - t - t - t - t
ppp
mf

.gliss.
. . . . b o
Opp
LISA STENBERG
gliss.
wo
rato
mf
47
mf
mf
mp
>
cha
>
>
cho
3.3. Section C and Section

F
>
cho
>
cho
cho
Kr
> > >
>
cho
to
to
j
>
to
woh!
j
>
cho
cho
cho
woh!
cho
cho
cho
woh!
j two sectionsare put together because

j the flutists bvoice
is not used. But inbboth,
n
>These
>
an extended
technique
>
> is used in a way >to create a>sound effect
> similar to the use of
mf
the flutists voice. In section C the multiphonics
create a sound very close to singing
and playing. The multiphonics sound result makes the listener asks Is it flute or
j
j In section
j has also a reminiscent character of the
j
whistle tone
F the
>voice> sound?
>
> that could> be produced
> > with the lips.
voice. It works like a very delicate whistle
>
cho
cha
b>
>
>
>
p -
cho
3.4. Section D and Section G
The
inw.t
octaves with the flute. Different
w.t
voice. appears
bw.t only once in eachbsection,
oboth
o
nw
vowels are used for the voice, causing
a small
changeb
in the timbre. b
w.t
gliss. #
pp
fzglisbs.
# gliss. b b b o
#
o mp
o fz mf nO pp
pp
mf
j
>
>
>
cha
cha
glia
b b
>
>
cho
>
cho
>
cho
cho
j j
> >
Kr
> > >
>
cho
to
to
o #
nO j
o
j
mp
>3
b> >
j
>
to
woh!
ss.
Example 74. Keep the Night from Coming In, section G.

>
j j
b> 3.5. Section
>
> >E
f
>
>
cho
cho
cho
.
J
pp
j
>
j
n>
j
>
woh!
p - to

b n
Section E presents a variety of different articulations. Different syllables produce a
>
w.t
>
j
j
j to more explosive ones.
richness
j
> of> timbres, going

>
> from very soft attacks
> > >
>
mf
pp
mf
mp
K
> b> b n n > b> . ro o
> >
> > >mp>
p
cha
fz
Example 73. Keep the Night from Coming In, section D.
b
#j
>
mp
cho
j
>
j
#>
woh!
cho

rK
b>
> > >
. bw.t > > > >
cho
>
>
cho
cho
>
cho
Kr
> #
> > >
>
cho
cho
to
to
to
b
o
j j
> >
w.t
cho
oj
b>
woh!
mp
fz
mf
fz
pp
j
>
b
> > >
j
>
>
mf
>
>
48
cho
b
j
>
woh!
pp
cho
p - to
fz

b n
nw
w.t
p - to
pp
t - ko
j
>
j
>
mf
pp
4. Collaboration
4.1 Introduction
The physical distance marked the whole process of collaboration. We had to develop
our own way of interacting: Lisa Stenberg, in Stockholm, and me, in Pite. We met in
person four times, the first in a cafeteria where we exchanged thoughts and ideas. The
others three were very intense instrumental sessions (which I named Experimentation
Sessions) where we exchanged many ideas and Lisa gathered sound samples from
my playing. Recordings of these sessions were used by Lisa as compositional material.
After these three sessions, the rest of our conversations took place by email in a
cyclical process. She sent me sketches, I practiced and recorded myself playing, I sent
back the material with comments and new ideas, and she sent feedback and more
sketches.
The focus in this section will be the discussion of the collaboration process from
November 2012 to April 2013, making clear that the collaboration around Keep The
Night from Coming In is still in progress.
4.2. Patterns of collaborations
I will here return to the models of collaboration of John-Steiner (2000) and Hayden
and Windsor (2007). As in the discussion around my collaboration with Olle
Sundstrm, the intent here is only to dialogue with these theories, not reduce the
experience.
Looking back to John-Steiners four patterns of artistic collaboration: My
collaboration with Lisa Stenberg was mainly a Complementary collaboration but
with strong elements of Integrative.
It was mainly a Complementary collaboration because, as in the collaboration with
Olle Sundstrm, it was based on complementary knowledge. I still had the role of
performer and she, of composer. But the process still involved Integrative
collaboration.
Lisa Stenberg had not had any previous experience of writing for the flutists voice.
She was very interested in discovering and experimenting with this technique. In the
first experimentation session we had, she first asked me: What do you like to do on
the flute? This question directed the partnership in a way that I became very active in
providing compositional ideas.
The strongest mark of the Integrative mode is the form of the score: an open score.
Keep The Night from Coming In allows any flutist, not only myself, to be active in the
compositional process. Choosing different ways of combining the seven sections of
the piece requires active reflections on musical form, meaning and direction. Each
performance of Keep The Night from Coming In can be different and may involve a
very personal way of playing it.
49
Using the categories proposed by Hayden and Windsor (2007), my collaboration with
Lisa Stenberg can be considered a mix between Interactive and Collaborative.
Interactive because it involved negotiation between composer and performer, but the
composer is still the author of the piece. Collaborative because the collaboration
affected the structure of the score. The score is open; consequently the structure of the
piece is decided through collective decision, as both composer and performer have a
very active role in it.
4.3. Examples of negotiation during the collaboration
Lisa Stenberg showed great interest in my personal ideas not only of using the
flutists voice but also other effects that I liked to play. As the process of
experimentation was long, I could trace more easily the direct influence I had on the
piece.
The first example of my contribution to the piece doesnt concern the use of the voice.
At the same time it is a very clear example of my input. I enjoy very much the whistle
tone technique. To practice this technique I like to use one of Robert Dicks exercises:
D
o gliss. o gliss. #
O
&
O
3
3
p
o
mf
&
b
gliss.
mp
gliss.
b b o
#
nO
o
3
mp
j j
> >
Kr
j > b
b
& j

>
> b> >
> > >
> > > >
>
>
>
Example 76. Whistle tones exercise (Dick, 1986, p.27).
&
mf
j
>
>
>
j
>
>
>
>
>
>
>
>
Kr
> > >
>
j
>
j
>
In this exercise a loud normal tone is produced in the third octave of the flute, and just
after the same tone is played as whistle tone.

I really like the contrasting effect, a
echo.
mysterious
When
Lisa asked me to play
I liked, one
of the

j for her things

j that
&
> b> j j
b>
b n
>
>
>
> that. We can see it
> in the
> piece, also combined
f
first effects I showed her
was> exactly
mf
with harmonics, resulting
in
very
contrasting
colors
for
the
same
tone.
j
j
j
&
&
cho
cho
cho
cho
cha
>
to - to - to - to - to - to
F
fz
. w.t
J
pp
cho
fz
cha
>
cho
. w.t
J
pp
cha
>
cho
>
cho
>
cho
wo!
w.t
. b
J
fz
&
cho
b
o fz
cho
>
cho
#
o mp
pp
cho
>
>
cho
cho
>
cho
o
b
mf
to
&
mf
to
wo!
wo!
cho
bw.t
pp
n
p - to
o
b
mf
nw
w.t
pp
pp
fz
#
o mp
p - to
>
cho
Example 77. Keep The Night From Coming In, Section F.
G flz.
# n b # #
.
&

b n n

50
p

p
3
to
voice,
Another example of my input,
, this time related to ,the use of the flutists
Im
concerns the use of vowels.
flz.
very interested in using vowels to change the color of
subtle
j sound.
j Using
jcombined
O or not
the
different
vowels
consonants, allows
O
O
O with
>variations> in tone
and intensity >of the same note. We tested many different

p
mf
combinations ofpp
vowels pand consonants. pp
Rubato
q = 55
Flute
Voice
&
j
j
& jIn one ofthe
of articulation.
sketches,
the
voice
line
>
>
> had a t as indication
,
,
j j j O
j
j j
& KEEP
O COMING
gliss.bTHE
n> NIGHT
> FROM
> > > INO
t
&
j
b
j j
n>
>
pp
j j j
>
> >
O O.
o mp
t-t-t-t-t-t-t-t
flz.
Example 78. Excerpt from a sketch by ,Lisa Stenberg.

,j
j j O
j
~~~~~
O O #O n
are glis
sung
unvoiced, the timbre is>richer
>As when
>>nsinging
. b than> innormal
& p mf
>bvowels
or
s. pp
p with
pp
p
mf sample with different
.
n
.
.
.
.
.
.
.
.
.
normal
flute
playing,
I
recorded
a
sound
vowels
combined
.
>
gliss.
,
O j
<>
& gliss. j j
b
>
ad lib. t,k....
&
chi
oo
pp I suggested
mp
ppp
mf
the t: ta, te,mf
ti, to, tu.
to the
j to listen
j the subtle changes
composer

of color and to use them in the piece. As a reflection
> of this discussion,
> > the
>n t asto
is found
inKeep
The Night from Coming In.
to b to
to
to
t
t
t - t - t - t - t - t
& j
>
j
b
j
>
j
>
pp
j
>
w.t
j
>
j
>
t- t - t - t
ad lib. t,k....
j j
> >
j j
> >
molto
to
to
chi - o
, to . to , . bw.t
to
. Example
vibrato vibrato
o
,
79. Keep The Night From Coming In, Section A. n
ord.
J
J
J wide vibrato#
#
n
extremely
&
One strong characteristic
of the final score is the richness
O of combinations between
flz.
pp vowels
fz
fz
pp
fz and consonants.
pp
b
o mp o mf 3gliss. p o mp# o o#ppp

# n
b
Another important performer-composer dialogue centered on the different
gliss.
w.t
&
mf
3
f
(open, half-opened) their possibilities and how
tomfclarify the
p embouchure techniques
mf
ppp
gliss. b
w.t ,
w.t ,
o
o
b
b n op
o gliss. #
molto vib.
mf
n
5. Reflections
#
b
b
& O

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
pp
pp
The
collaboration
with
Lisa
Stenberg
can
be
considered
a
rewarding
that
o
o
o
o
3
. mp ppp experience
mp fz #
mf
fz mf
p
mf
.
.
contributed a lot to my development as

n
. The experimentation sessions
b.an.performer.
b and
..
&
into
the practice of sketches

and gave me confidence enough to venture
o
oinspired
o
notation.
mf
ppp
mf
o
composition. Keep The Night from Coming In reflects the collaborative nature
of its
composition process, especially by its structure as an open score.
.gliss.
. . . .
mp
51
o
p
The long process of experimentation led to a bigger exchange of ideas but prevented
the project from being fulfilled according to schedule. The aspect of practicing Keep
The Night from Coming In couldnt be explored deeply for the simple reason that the
piece was finished at the same time as this text was first written. But I dont see it as a
negative situation, rather as part of the collaboration process.
Example 80. Lisa Stenbergs sketch with my notes.
52
Old Game
1. Introduction
Old Game is an etude for flute and flutists voice written by me in the context of this
research. Composing this etude was not my initial intention, but it grew as an idea
during the process of collaborating with composers. Finally it became one of my
methods of investigation, in order to explore more thoroughly and to better
understand the use of the voice while playing.
From a musicians perspective, Roe (2007) discusses the benefits of collaboration in
musicians practice. I had the privilege to work during almost a year with two
committed composers that stimulated and inspired me to explore the use of my voice
while playing. During the rehearsals and experimentation sessions there were lots of
possibilities and sound material that were not used by the composers; it is of course
impossible to use everything we tried or discovered.
In this chapter I will present Old Game, with its various aspects of using the flutists
voice, and reflect on the creative process of writing this unusual type of etude. Old
Game is written for flutists that have an interest in exploring their own voice while
playing. The etude covers many of the possibilities mentioned in this thesis. It is a
small example of creative audacity that I hope it can serve to inspire others to be more
creative in their own performance. This experience points to an attempt to connect the
distinct categories that are very well established in Western classical music:
composer-researcher-performer. It also reveals that collaboration between composer
and performer affects the practice of musicians and provides an important creative
stimulus for the performer.
53
Figure 8. Marina Cyrino performing Old Game, Pite, 2013.
2. Old Game The text

When I decided to write down some of my musical ideas, speaking and playing was
the first technique that I decided to explore. Pieces like Laconisme de laile and
Terrestre by Saariaho, or Voice by Takemitsu, had a great impact on me. Its amazing
in those examples how the voice of the flutist integrates itself with the musical
material and gives to the performer, or even to the listener, a strong visceral
experience.
During the collaboration with Olle Sundstrm and Lisa Stenberg I really missed that
particular aspect of using the voice while playing. As the form of using the flutists
voice was not pre-established and the composers were free to explore the techniques
as they wished, this technique was missing in both of the pieces.
As inspiration for using the speaking voice of the flutist I started to think about words
or texts that could be expressive and have a connection with the flute sound. As this is
a research context, I thought it would be a unique chance to use a famous text, that
couldnt be used in other circumstances. As an admirer of Samuel Becketts works, I
started to read passages of his dramatic works and I found in Endgame a text that
corresponded perfectly to my musical ideas. First, it is a play, which means that it is
written to be acted, spoken in a loud voice. Also because it was written in the context
of the theatre of the absurd, the text has a deep, strange, apparently chaotic nature
that fits so well with new techniques, which are also seen as strange, apparently
chaotic things that some flutists do. The text inspired me most of all, because the text
turns around human bonding in the context of isolation. Discomfort permeates the
whole play and it seemed to me that this general atmosphere has a strong connection
with the experience I had had during these two last years far from home, dealing with
a very different culture.
54
Endgame, by Samuel Beckett, is a one-act play with four characters, written in a style
associated with the Theatre of the Absurd. It was originally written in French
(original title: Fin de partie) and translated into English by Beckett himself. The play
was first performed in a French-language production at the Royal Court Theatre in
London, opening on 3 April 1957. It is commonly considered, along with such works
as Waiting for Godot, to be among Beckett's most important works. The title alludes
to the last part of a chess game, when there are very few pieces left. Beckett himself
was an avid chess player.
I chose three small excerpts from Becketts play, which seemed to me to have great
musical and expressive potential. Later in this chapter, Ill explain how I used the text
as material for the etude.
First excerpt (2006, p.93):
Finished, it's finished, nearly finished, it must be nearly finished.
(Pause.)
Grain upon grain, one by one, and one day, suddenly, there's a heap, a little heap, the impossible heap.
(Pause.)
I can't be punished any more.
(Pause.)
I'll go now to my kitchen, ten feet by ten feet by ten feet, and wait for him to whistle me.
(Pause.)
Nice dimensions, nice proportions, I'll lean on the table, and look at the wall, and wait for him to
whistle me.
Second excerpt, (2006, p.116)

One! Silence!
(Pause.)
Where was I?
(Pause. Gloomily.)
It's finished, we're finished.
(Pause.)
Nearly finished.
(Pause.)
There'll be no more speech.
(Pause.)
Third excerpt (2006, p.132)

Old Endgame, lost of old, play and lose and have done with losing.
3. The use of the flutists voice: Speaking, whispering and playing

Samuel Becketts text was the first inspiration for the Etude. The first word I used is
the first spoken word of the play and its a very interesting and sarcastic way of
beginning something: finished.
55

!! " #$%& '

!! " #$%& '
The f from the word finished has a great airy potential that makes this phoneme
perfect for whispering voice. I tried different pitches and the Db2 turned out to be a
good solution for making a powerful air attack:

Example

81. Old Game, bar 1.

I wanted
to put
an emphasis
on speaking/whispering
and playing, exploring
technique
with and

without
instrument
on
lips.

this
- Example
without instrument on lips:
of speaking/whispering

$ $
$ $

!

$ $

Example 82.
Old
Game,
bar
3.

!

- Example of speaking/whispering with instrument on lips

"

"

$ $

%

#

"

Example 83. Old Game, bar 8.
#

"

In another part of the etude, I explore speaking and playing alternately. This passage
requires
The flute should be kept in the
from
the
flutist
focus
on
the
embouchure.

playing

position
in order
not tolose the continuity
of the phrase.

' "

56

,+
*+
-


the rhythm

The
etude
of the text is written down, as well as

has passages where

passages where there is rhythmical freedom. The text can be spoken with different
character and intensity, as an opportunity to explore the dramatic possibilities of each
excerpt.

The notation in the score is very simple and not detailed, since it was my
intention to#
leave
several options open to$
other flutists.

of

4. The use
the flutists
voice: Singing and playing

As singing and playing was
in Floating
the

explore
main focus
and beautifully

Embers, by Olle Sundstrm. I chose to use this technique with a different focus: the
and flute lines.

between voice
different timbres
and balances

First
used
this technique
in its most simple
singing
one tone in
$ $
$ $
(
way:
and playing

I

octaves. Here the voice should blend with the flute sound, very softly, as a sweet

perturbation.

(
& ' "

$ $

$

Example

85.
Old Game, bar 7.

Later on, singing and playing
in
octaves
return,
and gradually
go
from one note to

will

a whole
phrase.
Is
this
passages
the
voice
should
be
very
soft,
a
color

blending
with

the flute sound.

$ $

%

(

& ' "

57

)

Another way of exploring the singing voice is to sing in very close intervals with lots
of power and air pressure. This technique results in very fast beatings between the
voice and the flute sound and creates a very dramatic result. In the following passage
I explore that tension in order to create a very intense passage where the flute line has
$

repeated notes and the voice goes slowly from octave to unison to a minor second.
Here the voice should increase in dynamics and the flutist should enjoy the dirty noisy
sound that comes from the fast beatings.

#

Example 87. Old Game, bar 44 to 51.

extended flute techniques

5. Other

Extended flute
techniques
that appear in Old Game were briefly introduced in

previous chapters. Here I will just illustrate and reflect around my choice to use them
in the context of this etude.

5.1. Whistle tones: Is someone calling or it is just imagination?
* . (

The choice of using whistle tones came directly from Samuel Becketts text. The
whistleand whistling are thematic
in Endgame. This inspired me to play with the text

and
contrast
the
one
most
delicate
sound that
flute can produce
the
(whistle tone)

with a very aggressive fast sound in the flutes third octave.
,
,

/

$

58

!

"

#

"

Example 88. Old Game, bar 4 5.
Once I used the whistle tone as a whistle call in the beginning of the etude, it
became a thematic material that appears in other moments of the piece as
reminiscence of the whistle call. Because of its very delicate and ethereal nature,
the whistle tone can be represented in this etude by the idea of not being sure if
someone is really whistling or if we are just imagining it. It relates to the
psychological tension of Becketts Endgame.
5.2 Key click sounds: Lets do something with the flute when its not on the lips
In Old Game, key sounds appear only in one passage, to illustrate Samuel Becketts
text: Grain upon grain, one by one, and one day, suddenly, there's a heap, a little
heap, the impossible heap. (Beckett, 2006, p.93)
The key sounds are used as small grains that, through accelerando and crescendo,
help the flutist to increase the tension of the text. The first passage of the text in the
beginning of the piece is quite long; it was fun for me to use these clichs illustrating
sounds.
5.3 Timbral trills: Disturb the sound kindly
In this etude, timbral trills and singing and playing softly a tone in unison resulted in a
very similar sound. Both produce small changes in the intonation and fast vibrations
of the air. Both create a confusing effect for the listener who is expecting a nice clean
flute sound. In Old Game I wanted to use these effects as a surprising moan disturbing
a common melodic flute line.
59

5.4. Discovering
new effects: a tone appears!

)

bar 36.
Example 89. Old Game,

In this example, when I was practicing the voice glissando, I discovered that the

octave)
interval
the voice
(an
between
and the flute tone resulted in a three-voice
chord (Eb B Eb). The tone colour of the resulting B is very strange, like a groan.
This multiphonic exists in flute methods but with flute tone for all three sounds. The
voice singing the ground note results in a very different colour.

Example 90. Multiphonic fingering (Levine, 2002, p. 76).
* . (

5.5. From sh to s: dont speak, dont sing, venture into strange sounds

,
,
/

This airy shand s and other kinds of sounds that arent speaking or singing were
detailed in Chapter 4. I used air sounds changing from sh to s for two main reasons.
#

First, sounds that are not described in flute methods can be very interesting: groans,
whispers.
sounds used to express the need to be
grunts,

Sh or s
are common

silent: shhh, silence. No more words. A clich that I wanted to put in the etude to
give
it a certain pedantic character but also because unvoiced airy sounds work very
well on the flute.

60

6. Practicing Old Game: Challenges and solutions through practice

In this section, specific passages in
Old Game where the flutists voice is required will
be discussed. The focus here will be the challenges Ive faced and the solutions that I
!! " #$%& '
found during my practice of the piece.
I already presented some of the passages from
the point of view of compositional choices; now Ill systematize the aspects of
performing in practice tips.

6.1. Whisper and playing with air attack

*


Challenge: To find a good
in the f sound of the word finished and to
air
pressure

make the word understandable even
if its whispered.

Practice Tips:
a lot

of air pressure in the attack of the f, slowly take
Exaggerate,put

out the pressure until the balance sounds satisfactory. Also start practicing in a louder
voice,
almost speaking. The volume of the whispering voice will depend a lot on the

room
where

or performing.
theflutist is practicing
* . (

6.2. Speaking without instrument on the lips

!

,
,

"

/


Challenge:
Here the great challenge
for me was to speak a text with aclear

#

articulation and expression. The flutist doesnt need to act while speaking
but the text

should be spoken
with
expressivity
and
direction.
Another
challenge,
specific
for me

and for those #

"

who dont have English as native language, was to pronounce the words
correctly. For example the word
heap was pretty difficult. When I had to speak fast
it sounded like hip.

61

(

videos
of
Practice
the staging of Endgame by Samuel Beckett and
I watched

Tips:

learned
the
in order
text by
heart

to make it sound more spontaneous and natural.

6.3. Singing one tone
octave

"

$

$ $
$ $

$ $

Challenge:
In the case of this etude the voice should blend softly with the flute sound.

way of using the voice where the flutist should just

Itsa comfortable
Tips:
Practice

that
has
the flute tone. Dont try to
effect
disturbing
the voice

enjoythe

when
it meets

finda beautiful
clean tone.

$ $

)

6.4. Whispering and playing in rhythmical passages

%

Whisper the given words in the indicated rhythm. The

fingering here is

Challenge:

used
the marked pitch. Have

to produce

a natural
feeling of the continuity of the

words, with expression, not rigid. (Old Game, bar 8,10, 55, 56 and 57)

Practice Tips: The flutist should practice the synchronisation of the fingers with the
& ' "

whispering voice. Keep the continuity of the air stream.

62

$

#

*+
,+

-
6.5. Singing in parallel movement with the flute line

)


is the easiest way of singing and playing two distinct lines. Blend the
Challenge:
This

voice with the flute sound. Keep a nice flute legato. (Old Game, bar 35 and 36)
Practice Tips: Practice only the flute line first, and then add the voice softly.

#

$

6.6. Singing different intervals: from singing to groaning

Example 97. Old Game, bar 44 to 51.
Challenge: The peculiar challenge of this passage concerns the singing voice. The

with
softly
a delicate
flutist
should
voice and increase the air pressure in each bar
start

the
until reaching the unison. When
voice
and the
flute
sound
meet
at the tone D, the

flutist should sing as loudly
as possible to create a maximum of vibration between the

two sounds.

Practice

between each bar, paying attention to the comfort of
Tips: Take goodbreaths
the vocal cords. Practice this
passage in small doses. The flutist doesnt need to focus
* . (

so much on the intonation of each interval, but rather on producing a tense and
groaning sound.

,
,

/

63

,
,

6.7. Singing and playing: the last passage its finished?
/

$

Example 98. Old Game, passage from bar 62 to the end.
Challenge: To find a focus for the flute tone in the low register and sing with a
stronger voice than in the other passages in the etude. Here the melodic movement of
the voice is important. The tones A and Bb should be well intoned. The focus should
be on the balance between the flute sound and the voice.
Practice Tips: To find the right pitch, focus on the tones A and Bb that come in the
flute part in the previous bar. First concentrate on finding the tone with the voice (the
flute has air sound, so the flutist can focus only on the voice); then it becomes easy to
find a balance between the lines. Keep the airflow continuous even if there are strong
beatings. Enjoy the last glissando when the voice meets the last unison.
7. Reflections
This etude represents for me a concrete result of this research process. It synthesises
the several different aspects of the use of the flutist's voice found in literature studies.
It also represents my reflexion around the use of the voice after collaborating with
two different composers. Old Game is the result of a creative artistic work, the
findings of this research are applied in practice. It has an emphasis on the speaking
voice of the flutist, because it was a technique not really explored by Lisa Stenberg
or Olle Sundstrm.
I strongly hope that this etude may serve as inspiration for other performers to
experiment with new music and new technical possibilities for their instrument. The
creative processes of systematising and writing down ideas had for me great benefits.
It increased my motivation to explore new techniques and my intimacy with my own
instrument, and it helped me develop a clear and consistent notation of a non-usual
flute technique.
64
Figure 9. Old Game, sketch.
65
Discussion
1. Introduction
This last chapter will return to the questions that guided this research and reflect
around the path taken during the entire process. The point of departure was a very
specific extended technique: the use of the flutists voice while playing. During the
research the subject branched off into a diversity of subjects, such as other extended
flute techniques, patterns of artistic collaborations and composition.
One single technique was the start of a one-year journey in the life of a performer. Its
interesting to remember that I didnt have a deep contact with using my voice while
playing, although I was interested enough to suggest to composers the use of that
technique as a central focus for new works. This research allowed me to be an active
part of the compositional process of three new pieces for flute. I learned this new
repertoire from a different perspective than the usual learning process, experimenting
and participating in each step of the compositional process. As a performer and a
researcher I gained insights into the creative process of collaborating with others
musicians and my creative process of writing, which encouraged me to reflect on my
own creative practice.
Figure 10. Lisa Stenberg and Marina Cyrino, Pite, 2012.
66
2. The use of the flutists voice: the outcomes

A general aspect that came out from this research is that the possibilities of using the
flutists voice are as wide as the imagination. However, it was possible to organize
patterns that can help to clarify the technique. Its now time to return to the research
questions: How can the use of the flutists voice combined with flute playing be
explored through collaboration? In which way can collaborating with composers help
us understand the use of the flautist voice? And how can the musicians practice
clarify the use and the learning process of this technique?
The individual style of each composer played an important part in the partnership and
working methods. One curious aspect of the research is that the only requirement I
gave to the composers was to use the flutists voice. The way they could use it was
left open to their style, taste and interaction with my own voice and me. As a result of
this process, each piece took a direction that corresponds to what we can consider a
distinct category for using the technique.
The first category corresponds to the singing voice, and is directly related to Floating
Embers, discussed in Chapter 3. The second category is the speaking voice,
corresponding to Old Game, discussed Chapter 5. The third category corresponds to
the whispering-groaning voice, related to Keep The Night from Coming In, discussed
in Chapter 4.
2.1. Floating Embers and the singing voice
The collaboration with Olle Sundstrm and its outcome, Floating Embers, explored
many different flute techniques and produced a very special sounding result in
combining the singing voice of a flutist with the singing voice of a singer. If we go
back to the research question: In which way can collaborating with composers help
us understand the use of the flutists voice, Floating Embers explores and clarifies
the use of the singing voice of the flutist. By practicing Floating Embers, any flutist
can develop the capacity to sing and play in a musical way. The composer had already
used the technique in other pieces, but the collaboration resulting in Floating Embers
allowed the development of the technique to a high level of complexity. In my
literature studies I couldnt find a piece that explores the singing voice as a second
melodic line as much as in Floating Embers. The polyphonic nature of the flutists
part requires from the performer a distinct kind of practice, focusing on the singing
voice. In Chapter 3, I developed practice tips to facilitate the learning process of
Floating Embers. These practice tips can be useful in any other piece that requires the
use of the singing voice of the flutist.
2.2. Keep the Night From Coming In: transitions, boundaries, impermanence
The use of the flutists voice in Keep the Night From Coming In helps us understand
the possibilities of transitions. Transitions inside and outside the flute, between air
and tone, flute and voice, voice and air It also explores deeply an aspect not so
commonly used: the closed embouchure. Its difficult to classify the main technique

67
used because the theme of the piece is precisely to explore the borderlands between
one category and other. However, the whispered voice is the most recurrent. The
singing voice of the flutist is also explored but always in parallel movement with the
flute line, which doesnt present the same complexity as in Floating Embers.
Practicing Keep the Night From Coming In clarifies the use of the whispering voice,
of the richness of timbres produced by different vowel combinations. It requires from
the flutist to learn the transition between open, half-open, and closed in a very musical
and delicate way.
2.3. Old Game and the speaking voice
The process of writing the etude, Old Game, was grounded in two main goals. First, I
had the curiosity to try to systematize my own ideas of using the flutists voice in
ways that werent used in Floating Embers or Keep the Night From Coming In.
Second, I had the idea that it could be a very interesting result for the thesis if the
pieces resulting from the collaboration could give a general overview of the main
possibilities of using the flutists voice. For this goal I wrote Old Game trying to fill
small gaps, using aspects of the flutists voice that werent covered by the
collaboration with Lisa Stenberg and Olle Sundstrm. The speaking voice was
intentionally chosen as the main technique in Old Game for the reason that it wasnt
explored in the two collaborations. With the etude and the two other pieces, it was
possible to cover the main aspects of the use of the flutists voice. The etude contains
others possibilities, such as singing or whispering, but the speaking voice is the aspect
that stands out. In Chapter 5, it is possible to find practice tips for all the different uses
of the voice presented in the etude.
2.4. Practicing my own voice while playing
In this section I will describe in an intuitive way the benefits and challenges that the
practice of this technique have had on my musical development. It should be clear
that these are impressions, because its impossible to separate the effects of practicing
my voice while playing from all other techniques I use in my daily practice. The
contact with my own voice while playing helped me to develop a large range of color,
dynamics and projection. I think that this development is directly related to the effort
that the inner ear has to make to be able to produce subtle nuances with the voice or
polyphonic lines.
Another point that I would like to discuss concerns the problems of practicing
techniques that require the use of the voice simultaneously with playing. Unless the
flutist is a trained singer, the vocal cords can be strained easily when singing and
playing simultaneously. The air speed should be determined by the comfort of the
vocal cords. This technique should be slowly introduced into the daily practice,
always paying attention to the comfort of the vocal cords and the tension of the
outside neck muscles. Practicing too much singing while playing can make the vocal
chords really tired. Robert Dick (1986, p.10) recommends starting at first with one or
two minutes a day.
68
Ive been practicing singing and playing daily for almost one year now and I havent
experienced any side effect, only a feeling of tiredness in the vocal cords sometimes,
if I practice too much. But of course this was my personal experience with the
technique. Each flutist should be aware of the limits of his/her own body and respect
them. Its important to highlight that I had lessons with a classical singing teacher for
one year and I learned many of the vocal warm up exercises. Im used to warm up my
voice almost everyday, and I would recommend this to other musicians.
In general, great benefits can result from the practice of new techniques such as using
the voice while playing, just through the fact that it takes us from our usual way of
playing. Using the voice is entering a world totally different from that of just playing,
and the friction caused by new elements always pushes us to discover new
possibilities.
3. Collaboration: the outcomes
3.1. The special agencies in musical collaboration
The development of musical notation has resulted in a division of the musician in two.
The increasing division of labour has gradually increased the split into the distinct
agencies of composer and performer (stersj, 2008, p. 51 and p. 375).
In the context of Western art music, the agency of the composer involves the
construction of musical works and the agency of the performer rests on highly
developed skills in the performance of a certain instrument.
stersj (2008, p.49) argues that the instrument is not a neutral tool in the projection
of a musical idea. On the contrary, the instrument should be understood as a distinct
agent in the creative process. This research and the three pieces forming its outcome
reinforce this argument. The flute emerged as a separate agent and its specific quality
of allowing the performer to use her / his voice was the point of departure of this
project. stersj comments on Aden Evens work (2005), where the interaction
between the performer and his/her instrument is described in terms of the resistance
of the instrument.
Castello Branco (2012, p.66) suggests another aspect of agency in performercomposer collaboration: the performers body. In the case of this research: the body
as the voice. In the pieces written in the context of this research my voice
distinguished itself as a separate agent: its color, range, technical limits, all its
characteristics shaped Floating Embers, Keep The Night From Coming In and Old
Game. This leads to a question: can a flutist with a low voice perform these pieces?
Olle Sundstrm answered that it could be possible, but it would be a completely new
piece. In Lisa Stenbergs piece, a low voice would change the delicate atmosphere
created by the unisons, and in Old Game, it would take away some of the musical
tension from certain sections of the piece. As a result we have three pieces shaped to
my voice, a female voice. It is still possible to make adjustments for a low voice in the
score, and this subject can be a next step to continue my research into the use of the
flutists voice through collaboration.
69
In summary, besides the agencies of the composer and the performer, in this project
we could distinguish two more in the creative process: those of the flute (the
instrument) and the voice (the body).
3.2. Collaboration across generations
John-Steiner (2000, p.151) considered the mode of collaboration across generations
especially common in music. This mode involves mentoring and transformation from
mentorship to collegiality. John-Steiner refers for example to the chain bonds between
Nadia Boulanger and Aaron Copland, then between Copland and Bernstein (2000, p.
159).
Although John-Steiner considered across generations a very common pattern of
collaborative work in the musical field, my experience in collaboration with
composers were only between members of my own generation. The reason can be that
in a student context it is natural to develop partnership with other students but I also
notice that young composers of my generation are very open and interested in what a
performer can bring. I didnt have this discussion with Lisa Stenberg or Olle
Sundstrm, but with several composers I worked with. They are born in the computer
editing programs era where, in theory, you dont need a performer to test sketches or
pieces because you have sound samples that make it possible to dispense real
musicians. But many composers that collaborated with me had experienced the gap
between the computer sounds and real instrumental possibilities, especially when it
comes to explore new sonorities. A computer cannot collaborate. I believe that many
young composers are looking forward to participate in projects like this.
3.3. The musical collaboration composer-performer: What is in between
Collaborative and Integrative?
Roe (2007, p. 206), in his artistic research into collaboration with five different
composers, concludes that his collaborations demonstrated characteristics of a
Complementary mode (collaboration based on complementary knowledge, clear
roles, and willingness to engage collectivity) with traces of Integrative patterns such
as risk-taking, shared creative vision. His conclusion is that in order to achieve a true
Integrative collaboration, a longer and more intense period of activity will be
required.
According to stersj (2008, p. 378), its difficult to imagine a fully Integrative
mode of collaboration as proposed by John-Steiner in the case of a composer and a
performer in Western music tradition. In order for the collaborative work between
performer and composer to reach a level of integrated creative work, a serious
reconsideration of the respective practices of the two agents is needed.
The clarinettist Paul Roe (2007) and the guitarist Stefan stersj (2008) discuss the
need of a specific framework for the analysis of collaborative work in field of music,
as the results of their research into collaboration also lead to the field between
Complementary and Integrative modes of work.
70
Looking at my project through John-Steiners patterns of artistic collaboration, my

collaborations with Olle Sundstrm and Lisa Stenberg were mostly Complementary
collaborations with aspects of Integrative collaboration.
My conclusions regarding collaboration point to the same direction. It seems to me
that the Integrative mode is a kind of goal that doesnt really fit the collaboration
between performer-composer nowadays. In all the works I have read about
collaboration it seemed that the musicians were a little frustrated for not reaching a
fully Integrative collaboration. I understand and admire the effort of proposing
working processes that go against the individualism of our society. On the other hand,
I was educated as a performer in the Western tradition and in all my experience of
collaborating with composers I never experienced the division of labour as a negative
aspect as in the following quotation:
Typically the composer is seen as creator, the performer as interpreter, and the
audience as the recipient of the music. This inherent hegemony creates division between
these musicians, creating expressive barriers in the dissemination of new work. (Roe, 2007,
p.2)
I also believe that new frameworks are needed in order capture the richness that exists
in this in between collaborative and integrative, in the divided labour, the limited
musician. During this project I realized that the input that a performer can have in a
collaborative process is hard to catch. And even small exchanges of ideas can bloom
into a marvellous new piece of music.
Figure 11. Marina Cyrino and Josefine Gellwar Madsen performing Floating Embers, Pite, 2012.
4. Final reflections
The outcomes of this research are many. The palpable ones are: three new pieces for
the flute repertoire focusing on one very interesting technique, audio recordings of the
pieces and a written thesis.
In addition, during this two-year journey an enormous amount of intangible outcomes
resulted from this process. As a musician I walked the path of practice, performance,
composition and research. The technical advances that I incorporated in my flute
playing are evident: I learned deeply a new technique not only in growing accustomed

71
to using my voice while playing but also a theoretical knowledge that has enriched
myself as a musician. I had the opportunity to be active and discuss one of my
favorite aspects of being a musician: to collaborate with composers. In addition, I
have experienced a great creative stimulus that resulted in my first piece for solo flute.
But of course I believe that my gains can also be shared with the general community
of flutists, musicians and all persons interested in new techniques for flute and
collaboration as a working method. I hope that through my text and reflections I could
express my gratitude to the composers, teachers and musicians that worked with me
during this project.
Figure 12. Josefine Gellwar Madsen, Marina Cyrino and Olle Sundstrms arm. First rehearsal of
Floating Embers. Learning how to be an action researcher: a little problem with the camera framing,
Pite, 2012.
72
Reference List

Literature

Artaud, P. (1994). Aspects of the Flute in the Twentieth Century. (C. Dale, Trans.)
Contemporary Music Review, 8(2), 131216,
http://dx.doi.org/10.1080/07494469400640101 (accessed May 2, 2013)

Artaud, P. (1995a). Present Day Flute. Paris: Billaudot.

Beckett, S. (2006). The Complete Dramatic Works. London: Faber and Faber
limited.

Caldas Zeballos, S.(2012). Guitarra Negra, A journey through a Collaborative
Creative Process. Master thesis, Department of Arts, Communication and
Education, Lule University of Technology.

Castello Branco, M. (2012). Reflexes sobre Msica e Tcnica. Salvador: Editora da
Universidade Federal da Bahia.

Dick, B. (1993). You Want to Do an Action Research Thesis?: How to conduct and
report action research). http://www. aral.com.au/resources/arthesis.html
(accessed May 2, 2013).

Dick, R. (1986). Tone Development through Extended Techniques. New York: The
Multiple Breath Company.

Dick, R. (1989). The Other Flute: A Performance Manual of Contemporary
Techniques. New York, NY: The Multiple Breath Company.

Grtarsson, G. (2012) Three in One: Composer's intentions and performers
reflections. Masters thesis, Department of Arts, Communication and Education,
Lule University of Technology.

Hayden, S., & Windsor, L. (2007). Collaboration and the Composer: Case studies
from the end of the 20th century. Tempo, 61(240), 2839.
http://dx.doi.org/10.1017/S0040298207000113

73

John-Steiner, V. (2000). Creative Collaboration. New York: Oxford University
Press.

Levine, C. & Mitropoulos-Bott, C. (2002). The Techniques of Flute Playing. Kassel:
Brenreiter.

Macgregor, M. (2012). Of Instrumental Value: Flutist-Composer Collaboration in
the Creation of New Music. Vancouver: University of British Columbia.

Manabe, R. (2008). A Preliminary Manual of Phonetics in Flute Playing. Doctoral
dissertation, UC San Diego Electronic Theses and Dissertations.
http://escholarship.org/uc/item/3mb1w13c (accessed on May 2, 2013)
Martin, C. (2012). Mobile Computer Music for Percussionists. Master thesis,
Department of Arts, Communication and Education, Lule University of
Technology.

Merrick, L. (2004). Collaboration Between Composers and Performers: Recent
British Clarinet Concertos. Doctoral dissertation, University of Central England in
Birmingham.

stersj, S. (2008). SHUT UP N PLAY! Negotiating the Musical Work. Doctoral
dissertation, Malm School of Music, Lund University.

Penny, J. (2009). The Extended Flautist: Techniques, technologies and performer
perceptions in music for flute and electronics. Doctoral dissertation, Griffith
University.

Powell, A. (2002). The Flute. New Haven, CT: Yale University Press.

Robinson E. (2011). Voice, Itinerant, and Air: A performance and analytical guide
to the solo flute works of Toro Takemitsu. Doctoral dissertation, Ball State
University.

Roe, P. (2007). A Phenomenology of Collaboration in Contemporary Composition
and Performance. Doctoral dissertation, Department of Music, University of York.

Toff, N. (1985). The Flute Book. London, UK: David and Charles

74
Musical Scores

Cyrino, M. (2013). Old Game. (Unpublished)

Ferneyhough, B. (1975). Cassandras Dream Song. London: Peters Edition Ltd

Hgberg, F. (1996). Flight of the Dragonfly. Stockholm: AB Carl Gehrmans
Musikfrlag.

Hurel, P. (1984). Elia. Paris: Gerard Billaudot.

Saariaho, K. (1997). Mirrors. Chester Music Ltd.

Saariaho, K. (1982). Laconisme de LAile. Helsinki: Editions Wilhem Hansen

Saariaho, K. (2002). Terrestre. Chester Music Ltd.

Stenberg, L. (2013). Keep The Night From Coming In. (unpublished)

Sundstrm, O. (2011). Spark of Imagination. (Unpublished)

Sundstrm, O. (2012). Floating Embers. (Unpublished)

Sundstrm, O. (2013). Rimfrost. (Unpublished)

Ross, F. (1997). Kotoko uha! Bordeaux: Questions de Tempraments.

Takemitsu, T. (1971). Voice. Paris: Salabert Editions.
75

CD Recordings
Chase, Claire Flute Recital: SAARIAHO, K. / DONATONI, F. / CARTER, E. /
BOULEZ, P. / FUJIKARA, D. (Terrestre). Label: New Focus Recordings Catalogue
No.: FCR122
FERNEYHOUGH, B.: Flute Music (Bjarnason). Label: Bridge Records
Catalogue No.: BCD9120
Mller, Mats, Flute Recital: - DEBUSSY, C. / VARESE, E. / JOLIVET, A. / BACK,
S. -E. / SCELSI, G. / BERIO, L. / ROSENBERG, H. (Solo per Flauto). Label: SFZ
Music Catalogue No.: SFZ2001
SAARIAHO, K.: Laconisme de l'aile / L'Aile du songe / PERSE, S.-J.: Oiseaux
(Saraste). Label: Montaigne Catalogue No.: MO782154
SAARIAHO, K.: Verblendungen / Jardin secret I / NoaNoa. Label: BIS
Catalogue No.: BIS-CD-307
SAARIAHO, K.: Cello Music (Descharmes). Label: aeon
Catalogue No.: AECD0637

YouTube Links:
Claire Chase (flutist from ICE International Contemporary Ensemble) rehearsing
Jason Eckards 16. (accessed May 3, 2013)
http://www.youtube.com/watch?v=ArK2EE1cHdc
ICE (International Contemporary Ensemble) performs Saariahos Terrestre. (accessed
May 3, 2013)
http://www.youtube.com/watch?v=NEnd0RecpGg&feature=endscreen&NR=1
Robert Dicks Throat Tune Lesson. (accessed May 3, 2013)
http://www.youtube.com/watch?v=FCxXc5p96YA
Samuel Becketts End Game, directed by Conor McPherson. Blue Angel films LTD.
(accessed May 3, 2013)
http://www.youtube.com/watch?v=gB89e4VynP4

76
Appendix
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MASTER'S THESIS

The Vocal Flute

Marina Pereira Cyrino

Master of Fine Arts

Lule University of Technology

The Vocal Flute:

I would like to express my gratitude towards:

1. The restless flute

2.1. Flutists in collaboration

2.2. Collaboration in contemporary composition and performance . . . . . . .

2.3. Creative artistic collaboration

2.4. Collaboration between composer and performer . . . . . . . . . . . . . . . . .

2.5. Collaboration in the context of this research

3.1. Central issues of the project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

3.2. Action research

3.3. Research strategies

4. Overview of different parts of the research

4.1. The projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

2 The flutists voice

2. Singing and playing

2.1. A general overview

2.2. Singing and playing: Pierre-Yves Artauds four categories

2.2.1. Voice pedal with flute playing:

2.2.3. Voice singing and flute playing, in parallel movement

Illustrating singing and playing, speaking and playing, and in between . . . .

2.2.4. Voice singing and flute playing: independent lines

4.2. Speaking or whispering with instrument on lips

4.4. Singing into the instrument

4.5. Singing in unison or octave

4.6. Singing and playing alternately

4.9. Some random funny examples

2. Floating Embers: a walk around extended flute techniques

2.1. First Section: EDGY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2.2. Second Section: MYSTERIOSO

3. Floating Embers and the use of the flutists voice

4. Practicing Floating Embers: Challenges and solutions

4.3. Passage from bar 47 to 52: Singing ta ke te in different tones . . . . . . 31

4.6. Passage from bar 67 to 89:

5.2. Collaborative patterns

5.3. Examples of negotiation: focus on the flutists voice

2. Keep the Night from Coming In: an overview

2.2. Open, half open, and closed embouchure

2.4.2. Consonants, vowels, syllables

3. Keep the Night from Coming In: the seven sections

3.3. Section C and Section F

4 Keep the Night from Coming In

4.2. Patters of collaborations

4.3. Examples of negotiation during the collaboration

2. Old Game The text

3. The use of the flutists voice: Speaking/ whispering and playing

5.1. Whistle tones: Is someone calling or it is just imagination?

5.3. Timbral Trills: Disturb the sound kindly

5.4. Discovering new effects: a tone appears!

5.2. Key clicks sounds:

6. Practicing Old Game: Challenges and solutions through practice

6.2. Speaking without instrument on the lips

6.4. Whispering and playing in rhythmical passages

6.5. Singing in parallel movement with the flute line

6.6. Singing different intervals: from singing to groaning

2. The use of the flutist voice: the outcomes

2.4. Practicing my own voice while playing

3.1. The special agencies in musical collaboration

3.3. The musical collaboration composer-performer:

What is in between Collaborative and Integrative?

Example 23. Floating Embers, bar

Example 29. Floating Embers, bar 29-30.

Example 30.

Singing in unison or octaves with the

Example 36. Floating Embers, bar 79 to 84.

Example 40. Floating Embers, bar 19 to 26.