Low Flutes - Peter Sheridan - News

NFA Low Flutes Concert/ August 2010

The NFA Low Flutes Committee, will present the full recital “Voices from the Deep,” showcasing the versatility and virtuosity of all low flutes: alto, bass, contra bass, and double contra bass. Chamber works, solo works, and large ensemble works, including a premiere by Alexandra Baldwin, will be featured.

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What do you think? Quotes on the new CD "Below"

"I've never heard such virtuosic playing on the low flutes!" -Katherine Hoover (composer, writer)

Check for more under Press/Reviews tab........

Playing on the Curved Headjoints

Over the years I have been asked about the 'correct' positioning for the curved headjoints on the alto and bass flutes. My response is simple and quite clear, "the correct position, is the position that works best for one's sound, finger technique and balance of the instrument." First out, I do not endorse the use of the curved alto head joints. It is my opinion that these curved alto flute head joints may play out of tune and distort the lower partials of the overall quality of sound. This said though, many flutist need to work on the curved head, as their arms may not stretch efficiently to the lower end of the instrument, and the straight heads can cause back, neck and hand pain. So the curve in the head does provide a closer hand set up, and provides a relaxation of shoulder and neck tension.

I have seen all types of curved head set ups, from in-line with flute body, to the head positioned over the the top of the body, and played in a downward blowing position. I find that placement of the headjoint halfway between these two extreme positions, so another words, just above the thumb plate, yet not over the keys, is a somewhat optimal setup. This position is roughly over the rods. There are two mechanical reasons for this placement.

1) the flute can now be supported from underneath, and the LH can provide a slight upward force to counter balance the weight of the larger body and tube, ' gently' pushing the headjoint into a solid and stable embouchure position.

2) This angled position allows for 'pitch manuvering' which is a realistic truth on the low flutes.

What is often the problem with this position, is that flutist then counteract themselves by turning the position of the head joint in (towards the lips), which can negate their efforts made to get the air source through the longer, larger pipe. A more open position tone hole set up, will provide deeper, richer low partials , creating a clearer, cleaner, projecting tone.

To recap, the position of the curved head has to work for the weight-balance, freedom of fingers and best tone production on the instrument. With aware self-observations in the mirror, one can solve numerous problems and create new methods of self expression through this unique relationship of the curved headjoint. This curved type of headjoint has many more choices that the normal striaght headjoint and can be a wonder to explore. The best advice I can give is: make the darn thing work for you. There are some many positions, yet the 'correct' one is the one that works best for your sound, and comfort.

Low Flutes Recordings

There are several recordings out featuring a few tracks of Low Flutes. It is a real treat to sit quietly and trun up your speakers on some of these amazingly low sounds. These are Not listed in any particular order.

Enjoy the sounds, feel the vibes!

Wild New Music for Flute(1998) Sheridon Stokes and Jared Ferguson-Alto/Bass           Works of incantaions, fearturing composers performing on Alto, Bass and C Flutes (Sheridon Stokes Music)

Glaciers in Extinction (2005) Roberto Fabbriciani-Hyperbass flute and tape               A World premiere recording of the Hyperbass flute. Six evocative, soundscapes exploring the enigmatic tones of the World's largest flute (Col Legno)

Spinning: Geoffrey Collins-Flutes (1995) Featuring the incredible Alto flute solo composition by Andrew Ford, writing for Helen Tara O'Connor (Tall Poppies)

JEUX: Mikael Helasvuo-Alto Flute (2001) A fantastic work by Finnish Esa Pekka Salonen, featuring exciting and wild extended techniques. Outstanding performance

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Others to come
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"Challenging Creativity"

"Challenging Creativity" is a new collaborative composition project by distinguished Monash University Composers Thomas Reiner, Peter McIIwain and Low Flutes soloist/ teacher Peter Sheridan.

Two (or more) compositions will be created that will showcase and ignite the creative sounds (and groans) of the low flutes. Thomas Reiner, newly appointed Chair of the School of Music at Monash, is planning a work for Alto/ Bass flutes that will feature high density energized cells that fly and fizz around the unique and distinct sound of the orchestral tubular bells. Must be a first?

Professor/ Lecturer Peter McIIwain is composing a surprise work for the sub-contrabass flute (with electronics), that will be based around the imaginative theme of an oil refinery. Now if that is not challenging my creativity.............. I feel honoured and blessed to have these fine musicians and colleagues composing for these over sized pipes. Stay tuned for premiere dates in 2010.

CD "Below" hits the airwaves

For all those fans of Low Flutes Music, the CD, "Below: Music for Low Flutes," has been finding a fair amount of radio air time from 3MBS (103.5 FM), 5 MBS (Adelaide) and ABC Classic FM (105.9 FM). Two featured interviews on 3MBS will present the music and some live flute playing from Peter Sheridan. Look out for the 'Island Tropic Discs' (with Pam Frank) interview, due to air late December. If you have'nt ordered your copy of the CD yet, don't miss out. There are many unusal and fascinating flutes sounds to be enjoyed! Many thanks to all the fine musicians who so generously contributed their extrodinary talent for this recording: Claire Cooper (Piano), Peter Neville (Vibraphone), Heather Price (Double Bass), Sheridon Stokes (Bass flute/ Irish flute and piccolo), Lisa Amos (C Flute), and John Sawoski (Piano)

New Depths of Tone: Sub-Contra Bass Flute

Depths of Sound: The Sub-Contra Bass Flute

The Sub-Contra Bass Flute, a monster of double tubing, with an embouchure hole large enough to fit a piccolo through, is a warm welcome to my collection of Low Flutes. The instrument is capable of sounding a C, three octaves, yes, three octaves below middle C! Made by the remarkable maker from the Nederlands, Jelle Hogenhuis, he produces this instrument at a fraction of the cost of a silver model, and I mean fraction. The flute takes a bit of time to readjust, though if you are a fluid bass or contra player, you will not have much trouble transferring. Once you find the air capacity and deep support, the full rich partials create a wonderful raucous sound.

Jelle began designing these instruments in the 1980's and has never stopped. He also makes other low flutes, though I have not had the pleasure of testing these instruments out. The Sub-Contra's massive body tubing is made completely out of PVC piping (a small feat of engineering), and is set beautifully with silver plated keys (with key pins as long as a flute head joint). The instrument is played seated in a hugging position with the hands in a slight reverse order (left hand below right hand). Its core sound reminds me of a growling bear (I mean this with the up most endearment) and the possibilities for tone colours are bountiful. Jelle provides a finger chart that spans three octaves, though I can only find about two octaves that sound correctly in tune with a good quality, right now. I will keep practicing those high notes on my Low Flute! The heart of the instrument is obviously its lowest register, which can sing, groan, growl or buzz a tone; physically moving the substance of air in its path.

SCB PDF

Practice Tips (AMEB Exams)

Practice (AMEB)

New ALTO FLUTE design: Kingma/ Brannen

If you play Alto Flute on a regular basis, you will want to know about an exciting new design development. The fine Low Flute maker, Eva Kingma, has just announced that she will design an Alto Flute with maker Bickford Brannen of Brannen Flutes. This instrument will surely be one of the best ever designed and should play like a dream boat (or dreamtube)! Bickford's amazing mechanical prowress and Eva's excellent ear for the low tube of the flute should produce an instrument that dear old Boehm would truly be envious of. Thank you to both of these fine makers/designers for their awareness to a problem that is long overdue in solution. The instrument will be unvailed at the National Flute Association Convention in NYC during August 13-16. I will keep you posted. For more info look at Eva Kingma's website: http://www.kingmaflutes.com/mySite/index.html

The Orchestral Alto Flute

I have presented classes on the Orchestral literature for Alto Flute. The class is just over an hour, and we play, discuss and problem solve the three large orchestral works that include the Alto Flute: "Rite of Spring," "Planets," and "Daphnis and Chole." All of these compositions explore the instruments unique and distinct color, as well as its sensitive yet vibrant tone and projection. Also dicussed are the symphonic and operatic works of Benjamin Britten that involve this instrument. In his "Sinfonia da Requiem" we find an extraordinary understanding of orchestral blend and balance, as Britten uses the Alto flute as a low support for the floating flute lines above it, in the Aeternam Requiem (III mv't.) This simple yet sonic and emotional colour gives Britten his distinct and vivid orchestrations.
In my opinion, this excerpt, is an excellent warm-up for tone, quality, and over-all 'loose' control of the delicate alto embouchure. Good supply of air, will allow the alto to produce a big hollow-like tone, which is excellent for blending.

Orchestral Alto