For the Flute: A List of Double-Stops, Triple-Stops, Quadruple-Stops, and Shakes John C. Heiss Perspectives of New Music, Vol. 5, No. 1 (Autumn - Winter, 1966), 139-141. Stable URL htp:/Mlinks jstororg/sici?sici=003 1-6016% 28 196623%2F24%295% 3A 1%3C 139%3 AFTFALO%3E2,0.CO%3B2-V Perspectives of New Music is currently published by Perspectives of New Music. ‘Your use of the ISTOR archive indicates your acceptance of JSTOR’s Terms and Conditions of Use, available at hup:/www,jstororglabout/terms.hml. ISTOR’s Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use ofthis work. Publisher contact information may be obtained at hutp:/www jstor.orgfjoumals/pnm html. Each copy of any part of @ JSTOR transmission must contain the same copyright notice that appears on the sereen or printed page of such transmission. STOR is an independent not-for-profit organization dedicated to creating and preserving a digital archive of scholarly journals. For more information regarding JSTOR, please contact jstor-info@ jstor.org, hupswww jstor.org/ Wed Ape 14 13:36:41 2004FOR THE FLUTE: A LIST OF DOUBLE-STOPS, ‘TRIPLE-STOPS, QUADRUPLESTOPS, AND SHAKES JOHN C. HEISS Waite multiplestops on the flute are not so numerous or flexible as on stringed instruments, they nonetheless represent 2 legitimate, and, to my knowledge, lttleused extension of what the ute is presumed to be able {0 do. Most of them are available only as sounds of very short duration, Which are not generally capable of being sustained in spite of the fact that they are quite easy to produce. In the case of the double-stops, for instance, the player must “aim” between the two given tones in order to make both sound: attempts to sustain both result in the predominance of one or the other. Some further instructions are as follows. For the triple- and quadruple- stops, the player should try to “spread” his tone, making it cover a broad spectrum in order to include each of the pitches involved. (This is done by using a wider aperture in the hole between the lips, so as to direct the sir column both “high” and “low” at the same time.) In playing the sounds of short duration, the best result is obtained with a short, articulate, and carefully directed burst of air. The “spread” tone is best for those sounds which can be sustained. ‘My impulse to search for these sonorties came from two sources, A fiutistcolleague® introduced me to the double-stop given as aumber 1 on my list. Also, a remarkable and complex “blaring” sound known to bas- soonists, and used by George Perle inthe fist of his Tree Iaventions for Solo Bassoon,* suggested the possible existence of a wide varity of com- positionally useful sounds available from other woodwinds, and not hitherto employed. Acoustically, these sonorties probably result from overtone relationships and/or fingerings which provide two or more possible tubelengths for use in the production of tone, Many of the double-stops, for example, are pro- duced by opening one or both of the two trill holes nearest the head joint in conjunction with closing a succession of the larger holes slong the main body of the instrument. This enables the player to use either a short tube- length or a somewhat longer one, or, if he so desires, to use both simul- tng (Me gegen cae chee gE are based on this principle. Here, tube-lengths which reinforce one another are used to produce the tone which is their lowest common partial.) 1 David Shosta, Srstchalr Autist with the New Orleans Philharmont. 2"The sound was suggested to Mz. Perle by the bassoonist Willem Scribner, of New York City) Mr. Pevle advises that the Znventont ave not yet published sl ‘that his present Intention fs ether to add more sounds ofthis types or to remove te Sound altogether and use a group of such sounds ins later conte, +139 +PERSPECTIVES OF NEW MUSIC ‘Hao ean ge tad 4 be 5 ay fe & te ot ant mane Riga ed 7 Str, marae 7 * heey? @ ie = teat mae Tas, m3 ma ip nd zs 3 4 =) Tea at m23 0b, 24 mae gated Pex) He Ei Way op et tand 0b, 2 mae Riga od eo, 5) 2 m9. «0. 0) 140+COLLOQUY AND REVIEW ‘My notations are conventional. Th, 2, 3, 4, and 5 refer to fingers. Parentheses surround instructions as to the particular key to be depressed by a given finger. Tr stands for “trill-key.” Where there are no paren- theses the given fingers depress those keys with which they are normally associated. Black notes indicate short duration; white notes indicate com- binations which can be sustained. Four of the shakes (numbers 4-7) are obtainable through other, more normal, fingers than those given here. My fingerings, however, produce unique effects, which differ considerably from what one would customarily expect in writing the particular intervals. In numbers 8-13 three or more tones are involved in each of the resultant sonorities. The sizes of the note- heads refer to the relative intensities of the tones (larger noteheads to louder tones, smaller noteheads to softer ones). When no other instruc- tions are given, arrows indicate the key which is to be trilled. 1 3 re 2 Yeporned Riga id imeem, —] Lee at mals mans maka Rage toa | We, PEC OE PECCONT) 10 a 2 B fans Ea “14+