for Solo Flute—2003

 
These three short pieces were written for the New York flutist Linda Wetherill. In addition to being a great proponent of new music, Linda spent a number of years traveling the world performing and teaching. Much of that time was spent in Istanbul. While in Istanbul, Linda became interested in Turkish folk music and collected quite a few folk melodies. These pieces are based on some of the melodies she collected.

While these preludes are based on actual folk melodies, they are not straightforward settings of folksongs. Instead, the folk melodies present a point of departure for a free development of melodic ideas. I chose to develop certain parts of the melodies extensively and left out other parts of the melodies all together. Still, I believe that someone familiar with the original folk songs will recognize the sources.

Notes for the Flutist

The first prelude is fairly straightforward. It should be played moderately fast and should be rhythmic. While most of the prelude involves figuration, two sections should be played with considerable passion (measures 18-24 and 41-48). The second time this maternal appears (m. 41) I have given the player a very long note. Attack this note hard, pull back and do an extreme crescendo with much vibrato.

The second prelude uses a few extended techniques. Harmonics should be played using the lower fingerings where indicated. The harmonic tremolo (m. 3 and m. 33) should be played by alternating the stand harmonic fingering (low “C”) with the fingering indicated (low “C” with the “F” key raised). This tremolo is kind of delicate and has a tendency to crack. If this is a problem, try crescendoing slightly as you go into it (also don’t lift the “F” key all the way up). The harmonics in measure 4 should all be played with the fingering indicated. It helps to roll out for the “D” and in for the “C.” Give the first note a strong accent to make sure that the “D” comes out rather than the “C.” There will be a kind of glissando effect between the notes. While it is common practice to play harmonics without vibrato, I find that I like vibrato on some harmonics (e.g. measures 4-9 of this prelude sound much better with vibrato than without).

All glissandos should be played by sliding the fingers from the rims over the holes. For the low “A” (and for the high “E” harmonic), finger a low “G” but place the fingers on the rims, leaving the holes open. For the low “G” (and the harmonic “D”), slide the fingers so that they cover the holes. There should be no perceptible break between the notes. The player should sing as he/she plays the notes in m. 10 and m. 34. Sing any pitch—the effect here is just to get a very rough sound. The multiphonics in m. 22 should be played softly and gently. Ideally the two pitches of each multiphonic would be equally strong, however in practice it is good enough if just a bit of one or the other pitch is present.

The final prelude includes a few extended techniques. Harmonic glissandos from “E” to “D” (see instructions above) and standard harmonics occur in several places. The last few measures should start in tempo and slow to the end. While this passage is fast, it is not difficult, it repeats the same simple pattern of fingerings.
 

Last revision 6/12/2009 This page is maintained by Robert Fruehwald (rfruehwald@semo.edu).

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