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Third-octave quarter-tone scale

Microtones are intervals smaller than a half-step, the most common of which are quarter-tones. I have included a demonstration of a third-octave quarter-tone scale to illustrate the extremely close distances between pitches. The execution of quarter tones requires the performer to either employ a different fingering or bend the pitch up or down with the embouchure. Because the standard Boehm-system flute was developed in the 1840s and obviously not designed for microtones, the artificial fingerings involved will produce different (often muted) timbres that are sometimes radically different from the surrounding semitones.

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Brian Ferneyhough, Carceri d’Invenzione IIb

(m. 148-153)

Microtones are intervals smaller than a half-step, the most common of which are quarter-tones. I have included a demonstration of a third-octave quarter-tone scale to illustrate the extremely close distances between pitches. The execution of quarter tones requires the performer to either employ a different fingering or bend the pitch up or down with the embouchure. Because the standard Boehm-system flute was developed in the 1840s and obviously not designed for microtones, the artificial fingerings involved will produce different (often muted) timbres that are sometimes radically different from the surrounding semitones. The creative composer will use these timbral differences to underscore musical ideas. For example, Brian Ferneyhough’s effective use of quarter tones and other microtones creates this haunting passage from his Carceri d'Invenzione IIb (The Dungeons of Invention).

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Edward Taylor, Voices in the Night (VIII:5-6)

Figure 1

Hollow tones are notes of decreased resonance, produced by special fingerings. They work best in soft dynamics, in the first octave of the flute, and yield a tone color akin to that of primitive instruments. Because hollow-tone fingerings are quite complex, producing a very special sonority, the effect works beautifully in soft, sustained passages. The following excerpt from Taylor's Voices in the Night illustrates a successful use of hollow tones (notated H.T.).

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Brian Ferneyhough, Carceri d’Invenzione IIb (m. 10)

Air sounds are produced by aiming a diffuse air stream above the embouchure hole. Different sounds are possible, from a gentle "whoosh" to a harsh "hiss." The fingered pitch is discernible in each case. While second- and third-octave air sounds are possible, the most effective notes are in the lowest register. Brian Ferneyhough combines air sounds with regular pitches in Carceri d'Invenzione IIb. He uses open, diamond-shaped note heads to indicate their use. This symbol is not necessarily the standard notation for this technique, however; writing an explanatory note in the score or in the preface will alleviate any doubt about the composer’s intention.

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Brian Ferneyhough, Carceri d’Invenzione IIb (m. 29)

Air sounds are produced by aiming a diffuse air stream above the embouchure hole. Different sounds are possible, from a gentle "whoosh" to a harsh "hiss." The fingered pitch is discernible in each case. While second- and third-octave air sounds are possible, the most effective notes are in the lowest register. Brian Ferneyhough combines air sounds with regular pitches in Carceri d'Invenzione IIb. He uses open, diamond-shaped note heads to indicate their use. This symbol is not necessarily the standard notation for this technique, however; writing an explanatory note in the score or in the preface will alleviate any doubt about the composer’s intention.