Flute Harmonics
Please note: the most interesting parts of this article are found at the bottom of the page, and to get the fullest out of them you'll have to go through the whole explanation. But believe us:your efforts at understanding will be amply rewarded.
Harmonics… what are we talking about?
Let's put it this way. How many different notes can you play with a given fingering? If your answer is one, or two, well, you're on the wrong track. What if I told you that some of the most basic fingerings can produce six, seven, or even eight different pitches — without ever moving your fingers?
Believe it or not, all the notes in the following recording have been played without moving a finger:
If you are wondering how this can be possible, you can get to the answer by simple deduction. With your fingers stuck in a single position, all you can do to alter the sound is modifying the embouchure and the way you blow. Indeed, once you know that producing these “extra notes” is possible, you may be able to figure out how to do it all by yourself, by a simple process of trial and error. However, we believe that reading this flute harmonics how-to will save you much time and frustration, and, most of all, we hope that it will arouse your interest in one of the most useful extended techniques available to flutists.
As an extended technique, harmonics are known under many different names: natural harmonics, overtones, partial tones. Practically speaking, all these terms refer to the same concept.
Why should I bother?
On the one hand, harmonics are sometimes used as alternate fingerings, and are sometimes called for in literature because of their unusual sound quality. On the other hand, harmonics also prove to be an invaluable source of effective exercises.
For instance, the A in the second register can be played with a bottom D fingering, but it simply won't appear unless your embouchure is just right. If you think about it, standard fingerings are designed to be fairly tolerant, so that even an approximate style of blowing will generally yield some sort of noise at the right pitch. Harmonic fingerings being much less tolerant, they constitute a wonderful guide: if you can play a note as a harmonic so that it sounds reasonably secure and strong, then you can be sure that you have come very close to finding the best way of producing the same note with its standard fingering.
To sum it up in a few points, the practice of harmonics is important:
- to develop a flexible embouchure;
- to gain a better control over the air stream;
- to stabilize and strengthen your tone, particularly in the high registers;
- because of their usefulness as alternate fingerings;
- because they are fun to play;
- last but not least, because they are actually used in contemporary music to create a special “color”.
How to play harmonics on the flute?
As you already know, the bottom-register fingerings will each give you two notes, depending on the way you blow them. In fact, they will give you more. A low D fingering, for instance, will yield not only a low D, but also the D which you (should) normally play with your first finger raised, the A which is written above the staff, another D above that, then an F# and an even higher A.
You are actually already playing the notes E5 to C#6 in the second register as harmonics, as they share the same fingering of their first-octave equivalents. Now, think about what changes are needed to pass from the first to the second register when using these fingerings.
- You speed up the air-jet, chiefly by reducing the size of the lip opening.
- You shorten the gap between the lip opening and the blow-hole edge.
- You draw the bottom jaw in a fraction to correct the angle of the air-jet.
Throughout the entire range of the flute, if all the notes are to sound in the right octave with the best possible tone, all of these transitions need to be made smoothly. Working on the same principles, with practice you will eventually be able to produce higher-order harmonics.
To start out, choose one of the lowest notes, like a low D or a low C. In principle, the lower the note the easier its harmonics, as long as you can play that note strongly and clearly. Now, without changing the fingering, apply your usual procedure to jump up an octave, the one we've just described. When you've got to the new note, keep the motion going and, with a little searching and experimentation perhaps, you should find yourself playing an even higher note: an A, if you are fingering low D; or a G, if you are fingering low C. You might find yourself playing higher notes. Don't fight them, but search out this next lowest note (compare it to its normally fingered equivalent to be sure). Some hints:
- Don't move the flute, don't move your head, don't change the fingering.
- Don't press your flute too hard against your chin.
- Don't force the keys down while playing higher and higher.
- Don't blow harder (a little extra pressure is alright).
This last point is particularly important. Even if the term “overblowing” is often employed when talking about harmonics, it's not really blowing harder that you will get the upper notes, but using the lips to go from note to note. It's a very small movement, but still there.
When the new note sounds bright and secure, switch smartly to its standard fingering without altering the way that you are blowing at all. You may find yourself playing with a surprisingly better tone.
If all this doesn't work, do try again. If it does, make a mental note of your embouchure, if and how it differs from your normal one. This will do wonders for your embouchure.
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