NOTICE: The unauthorised copying ofthis publication i illegal Please register public performance details with ‘The Performing Rights Society’ at 29/33 Bemners Street, London WIP 4AA tel: 020 7580 5544 or equivalent sociery ‘With many thanks to Carrie and Julie. The Great Train Race The Flute As You Don't Usually Hear It ! for solo flute (B foot version) Ian Clarke Just Flutes Edition ‘The Great Train Race was conceived and written as a showpiece for the flute 'as you don't usually hear it' ! It should be both exhilarating and fun for performer and audience alike, There are two versions ; one for 'B' foot and one for 'C’ foot joint. Neither require open holes. Performance notes R - Residual tone ice... the breathy noise of the flute left when a proper tone is purposely not formed. ‘The notation of an open slashed note-head further reinforces the idea that a conventional tone should not be striven for. A ‘B’ should be fingered throughout the first page ('D' in the C flute version), The technique may be best described as ‘a slight letting go’ or ‘unforming’ of the embouchure; pushing the jaw and embouchure forward whilst narrowing the gap between upper and lower teeth will also help. Explosive harmonics - These layered harmonic spreads intersperse the opening section building in intensity and reinforcing the rhythm. They are the results of short, increasingly energetic accents produced by very short huffs, At their peak they should explode from the bed of rhythmic residual tones. Do not attempt to obtain exact reproductions of the harmonics marked but listen more for the effect and follow the dynamic and rhythmic shape. The harmonics are a result of the explosion and not the other way round, hence a little unpredictability should creep in. Fitz - Flutter tonguing, Either the rolled R's or sophisticated gargle will work. Singing and playing - Ifthe performer is not used to this technique then they should work it up slowly i.e. only singing and playing for brief periods to start with. Use your falsetto if you are the male of the species! All the singing and playing in this piece is in octaves. The descending chromatic/glissando run may effectively end in a grunt and is not expected to be aprecise match especially since the C fluteversion starts very high for the voice. Be careful not to strain the voice particularly if you are not used to singing and playing. ‘Multiphonics - ‘The multiphonics used are of the more friendly variety. There are seven from only four different fingerings which are all marked at least once. Timbral till - The third register ‘D' trill is in fact a repeating group of three notes through the fingerings given : 'D sharp’, 'D quarter sharp’ and 'D’. A liquid quality should be striven for. In the long trill section the trill transforms into a more complex sequence in which rhythmic properties unfold, The music then slowly grinds to a halt. It will become apparent to the performer that they may actually stop on any note, except 'D’. Breathing - Note that the opening page should be in one breath. If this proves a problem then a contraction of the musical idea is more preferable than a breath. This also applies to the trilling section in which the dramatic suspense may be further extended by circular breathing (if you are able), hopefully leaving your audience both amused and bemused! Note bending - The octave 'E' bend is achieved by a lip and head movement covering the embouchure hole. The octave should be maintained. 4 - Slightly sharp ~ quarter sharp. These pitches come from given fingerings. Pentuplets (page 5) - ; This sequence is awkward to begin with, but as someone once said ‘time, patience and intelligent work’ ! Tan Clarke Suggested reading: ; Tone Development Through Extended Techniques - Robert Dick Circular Breathing - Robert Dick Other pieces available by Tan Clarke: “Orange Dawn’ - for flute & piano Hypnosis - for flute & piano “The Mad Hatter’ - for flute & piano “Sunstreams’ & ‘Sunday Morning’ - for flute & piano “Zoot Tube’ - solo flute ‘maya’ - 2 flutes & piano Tan’s music is distributed by Just Flutes 46 South End, Croydon, Surrey, England CRO IPD Tel: 020 8662 8424 ‘e-mail: enquiries@justflutes.com —www/justflutes.comThe Great Train Race Ian Clarke dt RRRRRRRR simile... (efer to performance notes throughout) Flute > > > S > 5 Ppp R - Residual/oreathy tone notated by open slashed note-head ‘Poco a poco crese. > Explosive harmonies) > > > > > ay molto dim. > 3 ay sempre dim. RY > PPP perdendosi niente ‘Copyright 1993-2001P crese. . f 7 Lower part - voice glissando dats ‘molto meno mosso ¢ rubato Copyright 193-2001 +2.d 20 ‘sempre accel, ‘Copyright 1993-2001Tempo primo Sing and play (voice one octave lower - falsetto for males) \ a .\ 2 @o eo oO 0 ° 2 2 2 oto E%oloto Elollalo = x ‘Copyright 1993-2001 —~ (Gee timbral till in performance notes) sempre legato quasi trill OER HTRno voice dim. f Timbral trill - simile coxin rovioux bar) ee ee 6 a ~— ° Hotolo oe ° §90to roe a a SE bito viene molto rall. Copyright 1993-2001Tempo primo Sing and play ! -~ T ‘ ef cresc. Z Kas oometghh 1993-2001