Distinguishing Upper and Lower Octave Flute Fingerings for Directors

Who

This issue affects band directors transitioning from middle school to high school ensembles, teaching flutists from beginner to advanced levels. Flute students need guidance to master third-octave fingerings for accurate intonation and tone in complex band settings.

What

The challenge is distinguishing third-octave fingerings for high notes (e.g., high D, Eb, E, F, F#, G, G#, A, Bb, B) from their second-octave counterparts (e.g., middle D, Eb, E, F, F#, G, G#, A, Bb, B). Incorrect fingerings lead to sharp, shrill tones, disrupting ensemble performance.

Why

In middle school repertoire, flutists use second-octave fingerings, often similar to first-octave ones, relying on embouchure and air speed. High school literature, however, includes third-octave notes requiring distinct fingerings to avoid sharpness due to the flute’s open-hole acoustics, as noted in Flute Fundamentals. Using second-octave fingerings for high notes causes pitch and tone issues, clashing with the ensemble’s tuning (A=440 Hz).

Where

Third-octave fingerings are applied via:

• Modified Key Combinations: Adjusting right-hand finger placements (e.g., lifting or adding fingers, using trill keys) for high D, Eb, E, F, F#, G, G#, A, Bb, B.
• Embouchure and Air Support: Fine-tuning to maintain tone quality with new fingerings.

When

Address this in:

• High School Repertoire: In pieces like Holst’s First Suite in Eb or Vaughan Williams’ Folk Song Suite, where third-octave notes are prominent.
• Exposed Melodies: In soaring solos or technical runs, like in Sousa marches, requiring precise intonation.
• Flat or Sharp Keys: In Bb or A major, where high notes (e.g., high G, A) are frequent.
• Ensemble Tuning: In rehearsals needing harmonic blend with other instruments.

How

To help flutists master third-octave fingerings:

1. Consult Fingering Charts: Use resources like Taffanel and Gaubert to teach specific fingerings for high D, Eb, E, F, F#, G, G#, A, Bb, B.
2. Practice Octave Transitions: Assign octave slurs (e.g., middle D to high D) to highlight fingering differences.
3. Analyze Repertoire: Mark third-octave fingerings in parts, such as high F in Lincolnshire Posy, ensuring correct application.
4. Use a Tuner: Check third-octave notes for intonation, as second-octave fingerings play sharp in the upper register.
5. Focus on Tone Quality: Encourage listening for a resonant third-octave tone, adjusting fingerings to avoid shrillness.
6. Incorporate Scales: Practice three-octave scales (e.g., C major) with proper third-octave fingerings during warm-ups.
7. Monitor Technique: Ensure relaxed hand positions to support new fingerings, avoiding tension in fast passages.

Conclusion

Distinguishing third-octave flute fingerings for high D, Eb, E, F, F#, G, G#, A, Bb, and B from their second-octave counterparts is crucial for directors transitioning to high school ensembles. By leveraging fingering charts, practicing transitions, and reinforcing intonation through tuners and repertoire analysis, directors can prevent sharpness and shrillness. This approach ensures flutists deliver polished performances in advanced literature, enhancing the band’s harmonic clarity and overall sound.