Composer Resources
This page is a resource for writing extended techniques for the flute. It includes notation examples, a brief description of each technique, sound samples, and other helpful information to keep in mind when writing for the flute. The possibilities are endless; be creative and experimental!
All techniques should be listed in a legend in the performance notes of the piece. There is slight overlap/repetition of generalized notation, so you must be very clear in what the notation in your piece is trying to communicate.
All pitches are labeled using the American Standard Pitch Notation (ASPN) system. Full range of the flute is B3 (C4)- D7.
Some things to keep in mind are: there is an inherent pitch in most techniques, the flute acts as an amplifier, some techniques are dependent on the flutist (or flute), and always ask a performer to ensure the passage is playable and comfortable. If not, they likely have a solution!
Air Attacks
Sharp, short percussive sound produced by short release of pressurized air shaped by a specified consonant. It has a full dynamic range with a pitch range of B3-D4. This can be produced at a relatively fast tempo, but is most effective in short loud bursts. Different harmonics can be produced based on the amount of air pressure used.
Air outside flute
Rhythmic, audible breathing shaped by different vowel shapes can brighten/darken the sound. The dynamic range is personal to the performer, but generally is most effective mf. Keep in mind that it is not a sustainable technique, as it can be easy to get light headed. Generally, and arrow down indicates an inhale while an arrow up indicates an exhale.
Air to tone
This technique seamlessly blends pitched air to tone by manipulation of the embouchure and air speed. The dynamic range is limited to a MF, and generally increases with the presence of tone. There is a full pitch range with a few exceptions in the third octave and can be held for awhile, depending on the performer’s air capacity.
Bisbigliando
A slight wavering of tone caused by moving the tongue side to side inside the mouth, comparable to the doodle tongue of the brass. There is a full dynamic and pitch range and can be sustained as long as the performer is comfortable. Occasionally bisb is written to imply a timbral trill, so it is always best to check with the composer’s intention.
Click into flute
Rhythmic, audible breathing shaped by different vowel shapes can brighten/darken the sound. The dynamic range is personal to the performer, but generally is most effective mf. Keep in mind that it is not a sustainable technique, as it can be easy to get light headed.
Difference Tone Glissando
A three-voice sound that involves a third octave note from the flute, high singing voice sliding down, and the resulting difference tone slides up. This is a loud and high technique, with a dynamic range of f-fff and a pitch range of D6-D7.
Flutter Tongue
Rolling the tongue while playing creates a distorted, active tone in the flute. There is a full dynamic and pitch range and can be sustained for as long as the performer is comfortable. Note that not every performer can roll their tongue. Typically, the speed of the flutter cannot be controlled. Growling and playing is a possible solution, however there will be additional noise and pitch from the performers throat.
Glissando
Since flute’s have keys, a performer cannot seamlessly slide between two notes (see pitch bends). The solution is a quick chromatic scale to mimic a true glissando. There is a full dynamic and pitch range with this technique.
Individual sections of the flute
The flute can be disassembled and played in individual sections. The headjoint offers the most flexibility and difference from the fully assembled instrument. When playing the headjoint with traditional technique, a high or low tone can be produced with little flexibility of pitch on its own. Inserting finger could create a “slide whistle” effect (in= pitch down, out= pitch up) in a limited range and covering the end can produce an overall lower tone. The body can be added to the headjoint, which slightly alters the pitch around D5-E5. The body and foot joint together can be buzzed light a brass instrument, changing the pitch and timbre slightly as fingers are added or removed, most effective from B3-D#4.
The audio example begins with a scale, played without the foot joint. Then a pitch bend is played on the headjoint in different ranges— first with the end covered and then without. Lastly, the slide whistle effect is played.
Jet Whistle
A quick burst of air and overtones, typically glissing down at the end of the note. The performer seals the embouchure hole while covering all keys and blowing as much air through the instrument as possible. There is a limited dynamic range with a pitch range of B3-D4 as the fundamental (although different harmonics can be achieved). There is a relatively short sustain and needs preparation beforehand with a maximum of 3-4 in a row. This technique is only effective on C flute.
Key Clicks
Soft, short pitched percussive sounds produced by closing the keys of the instrument with extra force and a slightly open mouth for resonance. This technique is quiet, with a typical range of ppp-p. This can be sustained for a while, as it does not require air. Be mindful when writing specific pitches vs a texture of sound. Pitches B3-C5 will speak but performers must occasionally lift fingers between notes, which would not create a key click as nothing is closing.
Microtones
When using traditional flute tone in this technique, some pitches have a covered or hazy timbre due to the specific fingering for the note. The specialty fingerings are often not idiomatic, so it is important to collaborate with a performer for idomacy. While microtones are possible on flute and auxiliary flutes, is it best on C flute due to the open holes. There is a full dynamic and pitch range, while the speed and duration is dependent on the pitches.
Multiphonics
Through existing specialty fingerings and air manipulation, several pitches can be played at one time. The pitch and dynamic range is dependent on each multiphonic, and the duration is typically less than traditional flute playing. When writing multiphonics, composer/performer collaboration is essential to assure the written multiphonics are sounding as intended— be open to changing it. Some are stable for every player and some are dependent on the player or flute. Know why a multiphonic is being written, whether it be for a particular fundamental, timbre, or general noise. Additionally, they are not practical to use consecutively without rest due to the lack of idiomacy and dramatic change of air.
Harmonics/Overtones
Overblowing a fingered fundamental can produce a resonant, resistant, pure, ethereal tone or a dramatic sweep through the overtone series. The fundamental pitch range is B3-B4, and the higher the fundamental the less harmonics are available. Although scientifically there are endless overtones, there is a limited number the flute can physically produce, with the highest possible being B6. Often, a sustained tone in the second or third octave can have options for a fundamental pitch, so performer collaboration is best to align with the composer’s intention.
The audio example includes the overtone series with C4 as the fundamental, as well as a series of notes played in a row with different fundamental notes.
Percussive consonants
Air attacks with specific assigned consonants to shape the sound. This can be a gentle or harsh gesture, the flute is amplifying the consonant that is spoken. There is a full dynamic range (determined by chosen consonant) and a pitch range of B3-D4.
Pitch bend
A slight, smooth raising or lowering of a pitch by increasing/decreasing air or rolling in/put the flute. There is a full pitch and dynamic range, typically getting softer on the bend. Flexibility of bending pitches is dependent on the note and octave. Upward bends are most easily achieved on C flute due to the open holes.
Roar
A low, distorted rumbling sound is produced when sealing the embouchure hole, covering all keys, and blowing a raspberry into the flute. This technique is not effective on piccolo, and is taxing when repeated.
Singing
Traditional singing without the flute is highly dependent on the performer’s comfort level and ability. Singing into the flute while covering the embouchure hole can create a filter for the voice, changing the resonance with different fingerings.
The audio example includes traditional singing, singing into the flute while fingering the sung notes, and singing a held note into the flute while changing fingerings.
Singing and playing
Polyphonic texture where one line is produced by the flute and the other by the voice. Unisons/slight detuning can create noise in the pitch. Either or neither line can be stationary. There is a full dynamic range, but difficult to control especially in the flute. The pitch range is dependent on the singer’s voice, but the flute range is full.
Speaking (into Flute)
Speaking provided text or “gibberish” into or near the embouchure hole creates a pitched, airy sound to accompany the text. The dynamic range of the text is dependent on the performer, but relatively quiet from the flute. Note that there will be an inherent pitch with this technique. The audio example demonstrates excerpts from Tōru Takemitsu’s Voice for solo flute: “Qui Que tu Sois, parle, transparence!”
Timbral trill
A slow or fast change in timbre on one pitch produced by specialty trill fingerings. The dynamic range is full while pitch range has a few exceptions. Typically there are multiple trill options for each pitch. If there isn’t a trill fingering for a desired pitch, bisbigliando is a solution.
Tongue Pizzicato
A short, percussive sound resonated through the flute produced by a build up and release of pressure with the tongue in between the lips. Note that the flute cannot produce a slap tongue, but tongue pizzicato instead. A light tongue pizzicato can also be used as a solution to enhance or mimic difficult key clicks. The dynamic range is ppp-mp with a pitch range of B3-C#5. It is has a moderately fast production speed with a long duration.
Tongue Ram
A short, percussive sound with a lot of resonance through the instrument. It is produced by sealing the embouchure hole, quickly forcing air through the flute , and abruptly stopping it with he tongue. There is a small dynamic range with mf+/- and a pitch range of B3-C5. They can be moderately fast consecutively, but take time to prepare the first one. Note that tongue rams sound a major 7th lower and are not effective on piccolo.
Vocal Fry
Vocal frying into the flute by sealing the embouchure hole with all keys closed amplifies the sound for a distorted, drone like sound. This technique is dependent on the performer’s ability, so compare/performer collaboration is essential. Vocal fry is quite effective on low flutes.
Whistle Tone
This technique produces a very quiet, pure high sound by blowing extremely little air through the flute. The pitch range is G6-D7, and some specified pitches are often unstable and are more effective as a texture.
More Resources
The Other Flute- Robert Dick
Regarded as the definitive reference work for flutists and composers. A comprehensive presentation of the flute’s sonic possibilities, including multiphonics, alternate fingerings, quartertones and smaller microtones, natural harmonics, glissandi, whispertones, percussive sonorities, jet whistles, a discussion of techniques for piccolo, alto and bass flutes and more.
A Modern Guide to Fingerings for the Flute- James J. Pellerite
One of the most complete guides for the flute ever published! Covers basic fingerings, trills, tremolos (3rds through octaves), quarter-tones, multiphonics. A unique reference book for studio and classroom by James J. Pellerite, Professor of Flute, Indiana University.
The Techniques of Flute Playing I & II — Carin Levine, Christina Mitropoulos-Bott
- Comprehensive presentation of all performance techniques for the flute which prevail in contemporary music
- Pedagogical tips for flautists to practise
- Examples of representative notation from modern flute music
- An essential tool for students, teachers and composers
- German / English text
Flute Colors
Multiphonics webpage with notation, multiphonic finder, auxiliary flute information, and other information for composers.