244 piere-yves artoud gerard geay flOtes au présent traité des techni contemporaines Gtes traversieres SOmMposi et des fiutistes PFESENE AY FUT]S — sxiseroeer sont Musikbibliothek treatise on contemporary techniques of tronsy flutes for the use of composers and performers a lusage c presente par €ditions jobert. paris Editions musicales transatlantiques. pansI have been asked to say a few words about "PRESENT DAY FLUTES" by Pierre-Yves Artaud and Gérard Geay. This book is in fact the work of one of our best flautists (Pierre-Yves Artaud) and a composer very well aware of modern instrumental possibilities (Gérard Geay). It is a technical book meant first and foremost for professional flautists (this is the work of Pierre-Yves Artaud), explaining the How, the Why and the good execution of certain procedures in use in the avant-garde repertoire. This information covers the four flutes in present usage : piccolo, C flute, G flute and bass flute. Certain fingering details (notably for harmonics, tonal variations, double and triple sounds or multiphonics) will greatly facilitate work on and the approach to contemporary music for all flautists who study them. Certain effects, often badly known, such as flat- terzunge, key-percussion, aeolian sounds, tongue-ram or inferior resulting note, whistle-tone or bevel-noise and the jew's-harp effect which result from it ~ all this must have been very exciting for Gérard Geay and will surely be so for all composers. Finally, the very complete tables for each of the four flutes makes this work the indispensable complement to the classic "flute-tutors". I am therefore persuaded that "PRESENT DAY FLUTES" will be extre- mely instructive to performers and composers alike, contributing to the evolution of the notation and technique of one of the oldest and at the same time most modern instruments of our planet: the fluee. bf Wee Wessiaue Olivier MessiaenTABLE DES MATIERES Introduction CHAPITRE 1 1) Les différents types de flates traversiéres 2) Les différentes notations A - Généralités B - Particularités CHAPITRE IT 1) Tablature des doigtés 2) Trilles et trémolos 3) Vibratos et smorzato 4) Flatterzunge 5) Partiels ou sons harmoniques A - Tableau des harmoniques B - Différents doigtés pour un son harmonique donné C - Possibilités mélodiques des harmoniques CHAPITRE III 1) Variations de timbre ou bisbigliando 2) Micro-intervalles 3) Glissandos 4) Multiphoniques 5) Trémolos de multiphoniques 6) Autres sonorités A ~ Percussion des clefs - Pizzicato - Tongue-ram = Sons éoliens = Voix et son simultanément - Embouchure seule - Whistle-tone et effet de guimbarde HW - Respiration continue ou circulaire anncoe 7) Combinaisons de sonorités Exemples Bibliographie Disque page 14 16 16 19 20 20 26 27 29 36 42 45 lll 112 112 116 17 118 119 119 120 121 122 124 131, CONTENTS Introduction CHAPTER I 1) The different types of transverse flute 2) The different types of notation 1) 2) 3) 4) 5) 1) 2) 3) 4) 5) 6) A ~ General considerations B ~ Considerations of details CHAPTER IT Fingering tablature Trills and tremolos Vibratos and smorzato Flatterzunge Partial or harmonic sounds A ~ Table of harmonics B - Different fingerings for a given harmonic sound C - Melodic possibilities of harmonics CHAPTER IIL Tonal variations or bisbigliando Micro-intervals Glissandos Multiphonics Tremolos of multiphonics Other sounds = Key percussion - Pizzicato ~ Tongue-ram Aeolian sounds - Voice and note simultaneously = Mouthpiece only - Whistle-tone and jews harp effect Continuous or circular breathing am noawe = 7) Sounds combinations Examples Bibliography Record