NOTATION Any non-standard fingering for a note or notes is given immediately above that note the first time it appears. Subsequent appearances of that note will not have the fingering above it. FINGERING CHART AKEY on FKEY a BKEY Lo fecews on alias (Bx 4 KEY E KEY \piKey Not DTRILLKEY Df TRILL KEY C KEY BKEY-—— O KEY UP @ KEY DEPRESSED © KEY RIM ONLY DEPRESSED = note sounding Notation for natural harmonics and multiphonics produced from regular fingerings f for the chromatic scale. lo - note fingered $ — -quarter sharp; d - quarter flat. with voice - sing and play at the same time in unison or in any comfortable octave. wet. whistle tone, also known as whisper tone. To be played at the pitch indicated. t.tr, - timbral trill: trilling between two fingerings of the same pitch. norm. - indicates a return to normally produced pitches. fT --square notes are used for pitches that are part of microtonal segments. f) -key click with an articulated pitch. ft - key click alone. g = flutter tongue. sgliss. - glissando between the two pitches indicated. bend — allow the pitch to bend or drop flat. Accidentals are effective within the measure and at the pitch.NINE ETUDES FOR THE CONTEMPORARY FLUTIST MICHAEL COLQUHOUN SS 3 —=_ =» PP St 163 Copyright © 1982 by McGinnis & Marx Music Publishersslower and calmer ite 2, sD” —— rs =—.» =>? === f= A. Glissando from low D to low F. Start on the fingering for low D and first slide the finger off the top of the D key. Next, slide the finger off the E key while raising the rim of the D Key. Finally, raise the rim of the E key. This series of moves should be practiced until it blends smoothly into one gesture. B This glissando is produced with the same type of finger moves as the previous D to F glissando cacept that the let hand fe moving from Ab to Bp the second overtone "Ep to Use the et hand thumb lever for fingering the Bb. C Play and sing with the voice in any comfortable octave.NINE ETUDES FOR THE CONTEMPORARY FLUTIST MICHAEL COLQUHOUN SS 3 —=_ =» PP St 163 Copyright © 1982 by McGinnis & Marx Music Publishersslower and calmer ite 2, sD” —— rs =—.» =>? === f= A. Glissando from low D to low F. Start on the fingering for low D and first slide the finger off the top of the D key. Next, slide the finger off the E key while raising the rim of the D Key. Finally, raise the rim of the E key. This series of moves should be practiced until it blends smoothly into one gesture. B This glissando is produced with the same type of finger moves as the previous D to F glissando cacept that the let hand fe moving from Ab to Bp the second overtone "Ep to Use the et hand thumb lever for fingering the Bb. C Play and sing with the voice in any comfortable octave.10 5 d=72 riba wsdrcous ate SS SSS ff f= = f—___= w»‘This etude should be played with rubato. A Descending glissadi are slightly more difficult than ascending, but the method of playing them is simply tke reverse of thal for ascending. Firs depress the Fim of the key, then side the finger over te hole. "I helps to first use tke embouchure to. bend the pitch flat_and then -eealatcly begin to depress the rim In tis case the glssando begins and ends on quarte-tone pitches, But the process the same. B Here the finger movement is the same as for the previous lissando, but the pitch of the final note is allowed to drop one overtone from B quarter flat to E quarter flat. Play the glissando like the previous one and, at the last instant, allow the B quarter flat 0 drop to E quarter flat. Both of these $lissandi can be played very smoothly with a moderate amount of practice. 1