Single Yellow Line

Single Yellow Line
Composed by Gareth McLearnon
for Graded Flute Choir
Published by www.garethmclearnon.com
Includes score and parts

Instrumentation:
Flute 1 – Grade 8+
Flute 2 – Grade 7-8
Flute 3 – Grade 6-7
Flute 4 – Grade 5-6
Flute 5 – Grade 4-5
Flute 6 – Grade 3-4
Alto Flute – Grade 7-8
Bass/Contrabass Flute – Grade 6-7

Premiered on the 3rd of August 2013 at the Sir James Galway Flute Festival in Weggis Switzerland

Additional (optional) Alto and Bass/Contra Flute parts are available to download free of charge on request – please contact Gareth directly through his website. This piece utilises three 'extended techniques': Residual Tone, Explosive Articulation and Shadow Notes. 

Residual Tone – “Tshh”: This technique creates a violent, tonal 'hiss' that sounds a bit like the sound a bus or truck makes when it releases pressure from its air-braking system(!). This effect is achieved by putting the embouchure into a natual, unformed “speech” position – as opposed to the beautifully formed “flutey” embouchure that one would usually use to make a nice, clear flute tone. I find that the way to make the best sound is to make a large cheese grin showing all your teeth, and thereby raising your cheekbones until your eyes are almost shut! You then direct this unfocused and diffuse air-stream at the normal flute playing angle. 
Explosive Articulation – “Sha” “Ka” “Kah” “Ke” “Cha” “Chang”: This is very similar to the residual tone. Using the same unformed embouchure, you 'shout' (but without using your voice) the syllable under the note. In this piece, the words utilised are varied: 'Cha', 'Sha', 'Kah', 'Ka', 'Ke', and 'Chang'. Again, by varying the air speed and volume, this technique has an excellent, wide dynamic spectrum.
Shadow Notes – Note Stems – Headless Notes: This technique involves fingering the note to be “shadowed” and rather than making a full, clear flute tone like you would ordinarily play, you instead “choke” the sound by giving it only a small kick of air with the back stroke of the tongue. It's a bit like Explosive Articulation – but is played with a properly formed “flutey” embouchure, and should sound like a dampened note on an electric guitar.