2. Single Sounds A. Tone Colouration Natural Harmonics Natural harmonics’ are the simplest of all ways to vary the flute’s tone quality. Composers have long called for the bright, distant effect of these harmonics and have used them for echo effects or extremely soft fade-outs on high notes. With the exception of E® and F®, for which there are no alternative natural harmonic fingerings? up to five alternative tonal qualities clearly distinguishable from the regular fingerings are available throughout the second and third octaves of the flute, Natural harmonics are produced by overblowing regular fingerings from low B® to Dé. The pitches produced follow the overtone series for pipes open at both ends. Thus, if low Cis overblown, the following harmonics are emitted ,tias “~~ fundamental The fingering of the fundamental greatly affects the timbre of the harmonics. A residual tone and/or pitched noise is often heard along with the desired pitch of the harmonic. The residual tone sounds at the pitch of the fundamental; it is noise-like in quality, consisting of a very weak fundamental and several overtones. Composers may, perhaps, be interested in the polyphonic effect of the natural harmonics that are heard with pronounced residual tones. All natural harmonics above a fundamental at a given interval have similar tone qualities. For example, the natural harmonics overblown an octave and a fifth above a fundamental are clearly related in timbre and are easily distinguished from the natural harmonics that are overblown above a fundamental at any other interval The following chart presents the natural harmonics, which are organized according to the pitch sounding. Additionally, indications for intonation, ease of response, dynamic range, and residual tone are given for each natural harmonic. (For details of these para- meters see Appendix A.) + Natural harmonics ae defined as notes 2. produced by overbiowing 2 regular fingering from low B® to Dz* (above the harmonic Dz° all natural harmonics are Fingered more than an octave below the pitch sounded). ». waditionally shown by F . thatfollowthe overton® seresfor pipes open at both ends 2 Since the regular fingerings from E> to Cz* are the octave harmonics of the corresponding low notes, the flute would hhave to be extended to low A? in order to provide alternative natural harmonic fingerings for €> and F°. On flutes pro vided with low Cfoorjoints there are also no alternative natural harmonic hingerings fr 2°. 12