Introduction
It
was Charles Nicholson who introduced
the
idea of large holed flutes to the world, ushering in the style of flute
that
would quickly become the norm for 19th century English players and
ultimately become the norm for modern Irish music.
And
it was Charles Nicholson who stunned Theobald Boehm, making
him realise that only by a further redesign of the flute could he hope
to
compete with this mighty player, thus leading to Boehm’s
invention of the modern flute.
So,
if we want some insights into how to play the 19th
century Improved (i.e. large-holed) flute, who better to listen to than
Charles
Nicholson?
Fortunately for us, he
published his thoughts in his two-volume treatise “A School
for the Flute”,
1836. I've extracted his
views on tone
and how to get it. In order to make it
more
understandable, I've broken up a few extra-long sentences, taken some
liberties with punctuation, and slipped in some
comments and observations along the way [in square brackets and
indented]. I've added a few
paragraph headings; I've
also “snipped” some mechanistic bits, preferring to
concentrate on the
philosophy – you can always buy your own copy if you want the
lot! Anything underlined
is Nicholson’s
emphasis, anything bold
is mine.
Even with these aids to
comprehension,
it's not light reading. You'll find Nicholson has crammed a
lot of fascinating information in here. Don't attempt to
skim-read it, rather take each sentence as it comes, savour it for all
its meaning and don't pass on to the next until you feel you've
understood him. Reading it with a flute in hand is best.
I have included first his
section on
holding the flute as you will see that his method of forming the
desired embouchure
rather depends on being able to pressure the lower lip with the flute,
and this
in turn requires using a hold that permits this.
On the Manner of Holding
the Flute
This
is one of the most essential requisites, and of the greatest
consequence to the
pupil; for unless
the flute is held properly, elegance of position, facility of
execution,
steadiness and freedom of tone will become materially affected.
The
position I recommend my pupils to adopt in their practice is to keep
the head
and body as upright as possible; by which means the chest is rendered
more
capable of expansion, and the performer is enabled to produce a more
full and
free tone than would result from a stooping as well as an ungraceful
posture.
The
position of the flute should be nearly horizontal, being supported by
placing the
second joint (about an inch
above the first hole) against the side of the first finger of the left
hand,
resting it nearly as high as the knuckles. By this means,
that finger will have free
action, and the second and third fingers can be more easily brought
over the holes,
than if the flute were placed lower down on the joint of the finger.
The
first and second holes should be covered with the points
of the first
and second fingers; and the third hole by the third finger, using the
broad
part immediately under the nail. By which the first and
second fingers become
properly curved, the little finger will find its place exactly over the
G#
or Ab key, and the thumb will be over the A# or Bb key.
The
thumb of right hand must press against
the third joint of the flute, being placed nearly under
the
fourth and fifth holes, but nearer the fourth. The fingers
must be curved,
particularly the second. Great care must be taken to avoid
the third
being straight, for to this
fault may
be attributed the difficulty experienced by many amateurs in the use of
the F
natural and lower C keys. The little
finger should be over
the D# or Eb key.
This being understood,
place the mouth-hole of the flute at
the centre of the
under lip, resting the instrument between that and
the chin. With the pressure of the thumb of the right hand
acting against the
pressure of the first finger of the left, and the flute being placed to
the
lip, as here described, the instrument will obtain the proper and only
support
it should depend upon. This will be fully experienced when
the pupil is
sufficiently advanced to play in the keys of B with five sharps, or A
with four
flats. (Snip)
[We
can thus see that Nicholson favoured what has become inappropriately
known as the Rockstro Grip; Nicholson came a long time before Rockstro
and Nicholson makes no claim for having invented this
approach. It requires that the right thumb be applied more to
the side of the flute than the bottom. You will see below
that this grip is essential in order to use Nicholson's embouchure
approach.]
As
this position of the instrument will be found somewhat difficult, it
may in a
great measure be relieved by pressing the thumb
of the left hand on the second joint of the flute, just above the Bb
key. So convinced am I, from long experience, of the
necessity of the
instrument being held with great firmness, that in order to accomplish
it, I
have a groove cut out of the second joint (about half the
thickness of the
wood) to receive that part or the finger on which the pressure lies,
which
brings the hand closer, and at the same time gives additional support
to the
instrument.
The
third joint I have also grooved out on the part where the thumb presses
and
inserted a piece of seal-skin; which prevents the thumb from slipping
and gives
great firmness to the right hand. (Snip)
[Above - a flute
believed to have belonged to Nicholson and certainly bearing an
engraved lip plate proclaiming this. The substantial cavity
for the first joint of L1 is clearly visible at the top of the
body. Just visible under the hole for R1 is the sealskin
covered insert for the right thumb. The flute also has a
flattened area around holes 4 and 5, another idea popular with
Nicholson.
Note also the alignment
of mouth and finger holes. The flute has line-up dots at
every joint and I carefully aligned these for the photo.
Compared to the finger holes in the left hand section, the embouchure
hole is considerably turned back towards the player, assisting covering
the embouchure. The right-hand fingers are dramatically
advanced the other way. This considerably assists the right
thumb to press the flute against the lip, as Nicholson has been talking
about.
Now that we understand
how Nicholson expects us to hold the instrument, we can see how he
expects us to get the best out of it....]
On Tone.
The analogy between the
flute and voice
(the proudest boast of the instrument) demonstrates the importance of a
fine
tone. To the generality of
flute players, it is very difficult to acquire,
and consequently deserves the
greatest possible
attention.
[So
if you struggle a bit with your
tone, don’t feel
alone!]
I have frequently heard
flute players,
possessed of good execution, who have utterly failed of producing a
pleasing
effect for want of a good tone; and on the other hand, I have witnessed
the
utmost pleasure evinced on the performance of the most simple melody
accompanied with pure good tone.
[An
early statement of the "Keep It Simple, Stupid" principle.]
How to get it.
To acquire which [good
tone], [I will]
commence by stating that the lips must be first closed, and a little
drawn
back, preserving as
much as possible
their natural position free of distortion. Place
the mouth-hole of
the flute to the centre of the upper part of the
under lip, but not so high as to prevent the lip from covering at least
one-third or half the mouth-hole. This must be done by pressing with
the flute
the under lip against the lower teeth, the lips remaining nearly
parallel;
there being a slight projection of the upper lip only.
Having
proceeded thus far, force an
aperture through the centre of the lips with the breath,
directing it into
the uncovered part of the mouth-hole. Very
little exertion is
required to do this; and indeed, in this early
stage of learning to blow, the less exertion used the better. (Snip)
How to get a strong bottom octave.
Strength of
tone in the lower part of the instrument depends on strength of
pressure on the
lip; for however hard you may blow, unless there is a resisting power,
your
exertions will prove abortive.
[This
pressure of the upper lip on the lower is a recurring theme and clearly
not to
be ignored.]
This resistance is in
confining the
embouchure [opening] of the lip to the exact size of the uncovered part
of the
mouth hole, and taking especial care that the upper lip is as
close to the
flute as seen in plate Fig. I,
in order that the breath may
have as short
a distance to pass from the
lips to the flute as possible. Otherwise
it will spread, and
consequently diminish in power.
[Unfortunately,
my copy of the document does not show the figures with useful clarity,
but we
can gain the impression from the text that Nicholson intends the jet
length to
be short, not long as is modern practice. ]
The
under lip is made firm by the pressure of the flute, and the upper
one by its powerful bearing upon the under
one. In
this state an embouchure [opening] is forced [by the
pressure of the breath], and the breath ought to enter the mouth-hole in a
vertical line [i.e. directly
downwards], to produce the
lower notes with fullness and precision.
For the [low] D and C a trifling
enlargement
of the mouth-hole will
be requisite, which may be done either by drawing the upper part of the
under-lip a little back, or turning the flute more out, or [away] from
the
lip. I have before stated,
that the
lips should be placed together with firmness.
[Firmness
– there’s that pressure again. And
just
in case we haven’t got the message …]
I not only mean the edge
or surface, but
that the soft or interior
parts [of the lips] should press on each other,
thus forming a substance to blow through.
The utmost care must be
taken to avoid
the
breath escaping at either side of the mouth; and to effect this, keep
the lips free
from moisture, for, wherever it
exists, the breath will spread, and pass
over the flute, instead of into it, causing an exhaustion of breath,
and
destruction to firmness of tone.
[This
warning to avoid leakage of air to
the sides seems to substantiate the pressure which Nicholson intends us
to use.]
The
old system of bracing the lips, producing an elongation of the mouth,
is, for
many reasons, decidedly bad, as it renders the lips thin, increases the
difficulty of confining the embouchure, and prevents an equal pressure.
[So
“bracing”
causing “elongation” is bad,
but “a little drawn back” and pressuring is good.]
Don't overdo it!
Quality and purity of
tone should be the
primary consideration of the pupil, and not loudness of sound, which is
too
frequently heard, and which may be termed roaring on the flute. Discordant
harshness will not be produced by
forcing the wind into the flute; for harshness arises only
from the breath
passing over the sharp edge of the mouth-hole, by which the stream of
breath is
lacerated, and a hissing or whistling noise is the result.
[Nicholson
clearly visualises that his
breath is entirely directed down into the flute, and that it does not
contact
the edge, whereas we know this is not the physics of the instrument. But
it tells us what he feels
is
happening and that’s useful in being able to replicate it.]
Nicholson's Ideal Tone.
Various qualities of tone
are to be
produced on the flute; but that of which I am now treating is firmness
of the
lower notes, and for which the position of the lips, as represented in
plate 2,
fig. 1, will be found correct.
[Nicholson
comes back to an alternative
tonal effect later.]
The
tone ought to be as reedy as possible, as
much like that of the hautboy [oboe] as you can get, it, but embodying
the
round mellowness of the clarionet.
[This
oft-quoted ideal of Nicholson's
starts to make sense when we see it in context. His high
pressure, covered hole, short jet approach will redirect energy from
the fundamental into the harmonics, avoiding a simpering flutey sound
in favour of a dark, hard and reedy one. There are also clues
here as to why some ten or more years later, so many English players
opted not to jump on the Boehm bandwagon - the sought-after hard, dark
tones not being available on that instrument.
And
just in case we momentarily
overlooked the pressure issue ...]
This
can only be done by pressure, as
already explained; and if by this means the lips be hardened, their
surface kept
smooth where the aperture is
forced, and the breath be passed into the
flute without being divided by the outward edge of the mouth-hole, this
quality
of tone will be acquired. [Snip]
If a good tone is
established on G, you
have only to move the fingers (and not the flute) to produce the
remaining four
notes [F, E, D, C – he is not concerned with the accidentals
at this time] equally well, by
playing strict attention to
the observation already made respecting a slight enlargement of the
mouth-hole
for the D and C.
[Failing
to increase the air supply for these low notes will starve them.]
The second octave.
Having for the present
taken leave of
the
first octave, we will proceed to one of much less difficulty, the
second
[snip]. Here the pressure of the flute
on the lip will be less,
which will produce a slight thickening of the under lip, and
consequently give the current of air, or breath, a more elevated line,
acting
more horizontally on the uncovered part or the mouth-hole.
[So,
back off the pressure being applied
by the right thumb and left forefinger, allow the lower lip to plump up
and the jet to move from the vertical toward the horizontal.
Just to be sure we get the message, he reiterates it below.]
And here I must observe,
strange as it
may appear, that
because it is the easiest part of the flute, it is generally the most
defective, the difficulties or the
lower and upper octaves claiming the undivided attention of the
generality of
flute players. The consequence is a perceptible weakness of tone in the
middle
octave; therefore let the pupil endeavour to unite the first with the
second
octave, with an equally clear and powerful tone.
For this purpose
practise the following exercise [2 octave scales in C].
By the pressure of
the flute [on the lip] being
less, the mouth-hole and embouchure [opening] will become
proportionally
enlarged, and consequently the volume of breath increased, which should
be the
case to produce a full resonant tone.
The third octave
We now proceed to the
third or upper
octave. Here again the same
pressure
must be used on the under lip, with an equal tension of the upper one
as in the
lower notes. The difference being a varied action of the
breath on the
mouth-hole; to produce which there must be slight projection of the
under jaw,
which will give the current of air a still more elevated line on the
edge of
the mouth-hole, by which means the upper notes will be produced.
For the last four,
[third-octave] G, A,
B, and C4, the
size of the mouth-hole must be reduced, by turning it more to the lip;
always
observing that the aperture in the lips, or embouchure, must correspond
in
size, to avoid the breath escaping over the flute. To effect
this, the
upper lip must be as near to the flute as possible, to give an acute
action of
the breath on the upper part of the mouth-hole. Here will be found the
necessity of keeping the lip free from moisture, the slightest presence
of
which renders it impossible to produce these notes with
clearness Without
clearness they become unpleasant to the ear, and more than deficient in
effect;
but when the proper embouchure is obtained, they can be produced with
the
utmost delicacy and sweetness, without more than the ordinary exertion
of
blowing.
Keep the tongue where it belongs!
Moisture on the lips is
generally produced
by the habit of protruding the tongue frequently between them. There is
no
necessity for the tongue coming in contact with the lips at all; on the
contrary it ought to be particularly avoided. I have met with
many pupils
who have given a false support to
the underlip
with the tongue, the instant it has been withdrawn for the purpose of
articulation, tone has either entirely ceased, or become very feeble. The
tongue, in legato or slurred passages,
should always be drawn
a little back, not only to
prevent its interference with the lips and embouchure, but to increase
its
action when required for articulation, which subject will be enlarged
upon
hereafter.
On
Playing Piano, or Subduing the Tone
The most finished and
delicate effects
produced on the flute depend on the acquirement of playing piano
[quietly], or subduing the
tone [while keeping it] in tune, which has always been considered a
great difficulty. I am not, however, of that opinion,
provided the ears of the performer happen to be put on in the right
place. Should this not be the case, he is liable to play too sharp in
his forte, and to play too flat in his piano passages. [Snip]
In the upper octaves
To produce a soft, clear
tone in the
upper
notes, the lip must cover about three parts of
the mouth-hole,
and be
hardened by the pressure of the flute;- but here the upper lip must
project, and the soft or interior part
only come in contact with the lower lip [more pouting?]. The embouchure
[opening] must be
proportionately small with the reduced size of the mouth-hole, and the
breath (jet) forming a line nearly horizontal.
And in the low octave?
There is a soft, mellow,
and delicious
quality of tone to be produced in
the lower octave
of the
flute, by forming the embouchure of the soft internal portions of the
lips:-it is totally free from reediness, and in some degree resembles
the most subdued tones of the clarionet. The muscle of the
face and lips must be relaxed, and the mouth-hole about one-third
covered, and brought
exactly opposite the embouchure [opening] to receive the column of air,
which
must be impelled into the flute with moderate force. There maybe a
considerable
body of tone produced in this way [i.e. loud], and so totally different
in its quality from
that treated in the early part of this article,
that when it is introduced in a slow movement, its effect is charming,
and at once relieves the
ear from monotony. The embouchure[opening] may here be larger than the
mouth-hole, for as the lips are relaxed the breath will not be impelled
with sufficient force to
produce any unpleasant noise from passing over it.
[Now
is this Nicholson looking forward
to the future - to the more relaxed, more open, horizontal embouchure
approach used in art-music today? If so, we need to remember
that he regarded it as an effect, but not bread and butter.]
Nicholson's Conclusion
The sincere and anxious
desire I feel for promoting the
advancement of those who aspire to perfection on this much-admired
instrument, is only
equalled by the hope that what I have endeavoured to elucidate in the
preceding
observations has been conveyed in a manner sufficiently clear to be
perfectly understood; and that it
may prove advantageous in stimulating the
exertions of those
pupils who are ambitious of acquiring that
proficiency which can only be attained by a strict and uniform
attention to tone.
My Conclusion
So what did we learn? Primarily that the tone Nicholson was
after, and for which he was so very famous and influential, was
produced by a high-pressure, short-jet, well-covered embouchure
approach, entirely at odds with today's art-music's relaxed, low
pressure, long-jet, open embouchure approach. Further, we
learned that he employed the 19th century three-point support system
(lip, L1, Right thumb) not just to support the flute (although
certainly that), but also dynamically to control the amount of pressure
applied to the lower lip.
Acknowledgments
Thanks of course to
Charles Nicholson, for that fulsome description of his
approach. Thanks to the Royal College of Music for the
opportunity to examine and photograph the flute pictured. Thanks also
to Peter Bloom, who publishes the facsimile edition of Nicholson's
School for the Flute. Copies can be had from him at 29
Newbury St, Somerville, Massachusetts, 02144; Ph (617) 776-6512.
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