Valentine Trills

[fluteguy18]

Has anyone heard of the piece "Valentine Trills" by Joan Tower?

I am learning it right now, and I was wondering if anyone else has played it, and could give me some tips. I would like to play it for my jury (the term here for end of the semester music major exams) at the end of the semester.

I would really appreciate it if anyone has any tips, because right now some things seem absolutely impossible.

[flutepicc06]

I haven't played it, but I've heard it before. It's an interesting little piece. What exactly seems impossible?

[fluteguy18]

Oh, just some of the runs. It is a difficulty with odd fingerings in the left hand (I'm right handed), and I wondered if someone who played the piece used some "trick" fingerings to make it easier in some places.

[flutepicc06]

Well, it's an unaccompanied solo, right? I would try to steer clear of "trick" fingerings. Most "false" fingerings are harmonics, and as you know, won't sound as the composer intended. Even if you have to take the tempo down a little for cleanliness, I'd stick to the real fingerings.

[lhampton]

my instructor played it as one of her pieces for a recital. it's a very nice piece.

[c_otter]

Hi Fluteguy,

Since I've never seen Valentine trills, I can't give exact suggestions. What note combination is the problem?

In trying to come up with alternative fingerings, I've often used trill fingerings or overblowing. Trevor Wye has a few suggestions about alternative fingerings at the end of his advanced practice book. Walfrid Kujala's Vade Mecum is full of alternate fingering and has a good discussion about them in the beginning. I believe Jeanne Baxtresser's excerpt book has suggestions for alternatives. Also, a list of alternate fingerings can be found at: http://www.wfg.woodwind.org/flute/

If juries aren't until the end of the year, you still have quite a bit of time to practice. You might surprise yourself with what becomes possible. Work on left hand fingerings that give trip you up.

In general, in regards to alternate fingerings, I keep hearing "use whatever sounds best". So try both alternative and regular and see what sounds best. Can another listener tell which is the traditional fingering? By the way, what does your teacher have to say?

Finally, join the flute list (email list), http://www.larrykrantz.com/fluteweb/fluteweb.htm and ask the question. The people on that list know much more than I do about flute. In addition to good information, there will also be a debate on the use of alternate fingerings.

[flutepicc06]

Hi Fluteguy,
In trying to come up with alternative fingerings, I've often used trill fingerings or overblowing.

In general, in regards to alternate fingerings, I keep hearing "use whatever sounds best".

Most trill fingerings, and anything where you are overblowing are using harmonics, and there is a noticeable difference in almost all of these fingerings. In a truly solo (no accompaniment) piece like this, especially, you want to avoid using harmonics in less they are called for by the composer. There is a special notation for when harmonics are desireable, but unless they are indicated, it is inadvisable to use them in such an exposed situation. They often compromise tone or intonation. This does tie into "do whatever sounds best." Most "real" fingerings are the usual fingerings because they do sound best. They have the best tone and intonation of the fingerings that allow a given pitch, and in most situations are going to be what sounds best.

[c_otter]

First, I was just answering fluteguy's question. It's his flute professor and jury that he has to make happy.

I agree that the traditional fingering will often sound different. However, at high speeds (quarter = 144 or faster), uneven fingering will be much more noticeable than a couple of notes that have a slightly different tone or color. Thus, the alternative fingering with a cleaner execution will sound better than the regular fingering slightly uneven. Only someone with an extremely good ear will notice the difference. The general audience will not.

I would much rather play an exposed passage with alternate fingerings for a couple of notes that last less than 1/576th of a second and know that I can nail it than try for something that is a real struggle, especially if I'm nervous.

Some alternative fingerings only have a minimal effect on the sound, such as leaving the 3 fingers down on the left hand when playing C2 and D2. I've also found that some of the alternative fingerings sound better on my flute. For example, on my flute adding R2&3 to Ab3 or R3 to F3 sound better and are easier to play in tune. Some of the alternate fingerings are designed to improve the sound, particularly when pp or ff.

Walfrid Kujala's Vade Mecum really does have a good discussion on the use of alternate fingerings. He points out instances that do have minimal or no acoustical effect. That Kujala and a number of other flutists that are much better than me have put out information on alternate fingerings makes me comfortable using them judiciously. I also think these fingerings are worth knowing and using as needed. Practicing these fingerings can minimize some of the differences.

Yes, it's ideal to have lots of time to practice and have fingers that fly, but that doesn't always work. When I've been asked to sub, it's often been last minute with little time to learn the music. Once when subbing, I received the music at the only rehearal and only had a week to learn it before the performance. That conductor liked to play things fast.

Finally, given that the trill fingerings are noticeably different, why is it ok to use them for trills? (paraphrasing Kujala)

I respect your opinion, but apparently I disagree on the use of alternate fingerings.

[flutepicc06]

I think our difference in opinion stems from fundamental differences in opinion in what is the most important in a performance. I would rather the sound be perfected than the technical side of the music (the audience won't have copies of the sheet music in front of them, but will hear if something doesn't sound right), while you seem to prefer technical cleanliness, even at the cost of tone. I agree that alternate fingerings are highly useful, and certainly have their spot, but in a solo such as Valentine Trills, I do not think they belong (except as used in the trills). You'll notice that I qualified my comments with words like "Most alternate fingerings." I do realize that there are some that do not negatively impact tone, and may in fact be beneficial, but most alternates do not fall in this category. Trill fingerings are okay for trills simply because there is no better way to pull off this particular technique than with modified fingerings. It would be great to trill a C#3 to an Eb3 without trill fingerings, but that's not practical, but for one segment of the trill (i.e. C#3 to Eb3 without the repetitions of this pattern), it is practical.

[fluttiegurl]

One of my former flute teachers originally played trills using the actual fingerings. No one told her any different, so she went into college playing this way (quite well I night add). She can still play many of them that way. It is crazy to watch! She rarely uses alternate fingerings, but teaches that you should explore all options in fast passages. Sometimes, the alternate produces the result that you want. Sometimes, it does not. Another of my former teachers taught heavy use of alternate fingerings. Both were fabulous teachers, and both play professionally. I tend to lean toward the first and teach my students that they should know alternate fingerings along with which ones are appropriate for certain passages, but to learn the true fingering first. Also consider that not all flutes will respond the same to alternate fingerings. Split E can affect the outcome, for instance.

In my studio, we do a great deal of recording and careful listening. When a studet is unsure of which to use, we will record it both ways, and I let him/her make the decission based on which sounds better. Sometimes, sloppy fingers due to true fingerings will not outweigh even fingerings with a slight glitch in tone that may or may not show up on the recording.

Either way, players are discovering new alternate fingerings all the time. I think it is healthy for students (especially young students) to explore these options and learn to carefully listen to the differences so that they can make the decissions themselves and be comfortable with using both fingerings. It can also help to develope a student's ear.

[MeLizzard]

After learning standard fingerings, use any alternate that works! This must take into account color and pitch as well as technical facility. However, on many ocassions, the "wrong" fingering can be absolutely right. Example: high G# on piccolo--unless you're playing a picc with G# facilitator, don't you often play the note with the right-hand middle and ring fingers, as well as the "correct" left-hand fingers? I don't know the full historical background of the use of 'sensible' (French), or "sensitive" fingerings, but Henri Altes actually made a chart for them. I believe it was imprinted with someting about facilitating technical execution and altering pitch (yes, on purpose). Sometimes these fingerings provide better pitch (depending on the key and the note's harmonic function), or more-appropriate color, as well as greater technical ease. Here's a link:

http://www.oldflutes.com/charts/altes/index.htm

[fluteguy18]

thanks for the link. Even though I havent tried them yet, I am sure I will be able to use some of them (and even if not on this piece, this chart will have a lot of future referance). Thanks.