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String of Thoughts, A






SKU: 01U02UE36747


A String of Thoughts
Composed by Tilmann Dehnhard (2017)
for Flute and Piano
Published by Universal Edition
Includes score and flute part

Notes from the Composer:

Dear flautist,
      This piece is written for an open-hole flute with a B-foot. To play the glissandi, an open-hole flute is your only option. Although the part's fingering charts depict a B-foot, it is not absolutely necessary: all fingerings can also be played with a C-foot. 
      By closing the tone holes with the tips of your fingers, rolling away from the tone hole on the flute key without opening the key ring, you will make your glissandi smoother and also faster. Try to roll with your finger and not glide. This will help you to find your way back to your original, closed-hole position. If glissandi prove to be too technically challenging for you, you may play the passages simply legato.
Sing and Play
      If you haven't mastered singing and playing the flute simultaneously yet, you may omit the singing. 
Wind Sound
      Please play the wind sounds with a defined, audible pitch, but without the usual flute sound. To achieve a wind sound it may be helpful to place the tips of your upper and lower front teeth together while maintaining your conventional flute embouchure.
      Please use the speed of the tone colour trills as a means of musical expression. Feel free to support the music by varying the speed. Accelerandos work well with crescendos and decelerandos sound great with decrescendos.
Reverse Sound
      This effect is supposed to sound like an audio tape played backwards, or a sound sample played in reverse. Start the note out of nowhere without articulation and stop it with your tongue, right on the beat of the written note. 
      If you want to know more about modern playing techniques, I recommend that you work with my book The New Flute published by Universal Edition.
– Tilmann Dehnhard, March 2017

Dear pianist, 
       The main structural frame of this piece is a constantly played a'. Perform this music with rhythmic precision, so the effect of a 'perpetuum mobile'-note appears.
      It may seem, on the page as well as in the actual msuic, that the tempo changes: the a' nevertheless has exactly the same tempo throughout the entire composition.
      Should it be impossible to reach the strings due to the piano's construction you may play the scratched and dampened sounds an octave lower. Should you play this piece on an upright piano, play the scratched and dampened sounds conventionally. Feel free to use the left pedal (una corda) for these notes. 
– Tilmann Dehnhard, March 2017

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