Professional Documents
Culture Documents
57
FtiiteFets
Wslfriii<ufs/11, Contribut(ng t;dltor
58
PP
ff
mf
Control of Pitch
The flute is nominally built to
play a perfect. equally tempered
scale and we might say tha{ it is
Fig. 3. Lip-to-edge jet lengths used by
a selection of flute players.
20.-'--------------:-----:
"'
J:
.Ql 05
41
:e
15
.:
E
E
10
E
J:
.;
~
c.
el
c4
c5
c6
el
59
FlutsFacts
Wslfrld Kujli/1, Contributng i;d/tor
Conclusion
In this article I have discussed
sorne of the basic factors influencing the production of sound
from a flute. What I have not
done, however, is to discuss the
muscular adjustments which are
most appropriate to control these
factors, and this is, of course, of
even greater importance to the
flute player.
It seems that there is sometimes
quite a difference between what
we think we are doing in the matter of embouchure control and
what we are actually accomplishing. In itself this is of no importance at all unless we try to enforce
a uniform approach on all our
pupils. I hope, however, that a
rather deeper understanding of
what we are trying to do may help
us all.
11
Vibrato
Vibrato is not strictly part of
the steady sound, but it is useful
to discuss it briefly here. There
are actually three variations of
sound involved in a normal vibrato - a slight variation in pitch,
a variation in loudness, and a variation in harmonic content. For a
string instrument, the pitch variation is the main feature of the vibrato; but for wind instruments
this is of less importance and
variations in loudness and harmonic content predominate.
C4
262Hz
C5
524Hz
Fig. 5. Harmonc structure and vibrato on ~he notes C4 ond C5 The relotive
amplitude and time variation of each of the first six hormonics is shown, the
pulse of the vibrato being 5 per second in each case.
FEBRUARY 197 4/THE 1NSTRUMENT AllST
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