Excerpts from Volume 5
 Volume 1 - Microtones  
 Volume 2 - Harmonics  
 Volume 4 - Pitch Blend & Finger Slides  
 Volume 5 - Simultaneous Singing & Flute Playing  
CATALOG - Con Brio Music Publishing

Easing Into Extended Technique:
    Volume 5  Simultaneous Singing & Flute Playing

by composer/flutist Linda L. Holland


The flute is unique among wind instruments in that it is played without the embouchure being closed tightly around a reed or pressed against a mouthpiece. The open-mouth playing position of the flute makes it possible for the player to vocalize while producing a tone on the instrument—to simultaneously sing and play.

This unconventional technique presents interesting musical possibilities and challenges for the flutist, and can benefit the player in a variety of ways. On a physiological level, practice of simultaneous singing/playing will enhance the flutist’s ability to control the muscles of the throat used in playing.

In terms of general musicianship, the technique demands that the player control two independent musical lines with respect to pitch, rhythm, and volume—something many flutists have little experience with. This technique is especially useful in developing the player’s perception of intonation, particularly as it pertains to harmony.

 This volume contains:
1)  An introduction to the technique of simultaneous singing and playing.
2)  The American Patrol, a well-known march arranged to employ occasional singing      on two pitches.
3)  Victimae Paschali Laudes, a medieval chant set in simultaneous singing/playing at       the interval of a perfect fifth.
4)  Theme from New World Symphony, a melody from Dvorak’s famous symphony       employing both unison singing/playing and some contrapuntal singing/playing.
5)  Prelude in C Minor by Chopin, employing singing/playing with chromatic harmony.      This is an advanced piece.
6)  Chant, an original composition employing both unison and harmony            singing/playing.
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Last Updated: 08-Oct-2015

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