” 8 5 ff 5 5 # aft 5 # e 5 # © 7 © 5 € e # fe a 6 Natural harmonics can be produced for all the notes above high B®, but they are extremely difficult to find and reach cleanly. Fingering of Pitches in the Chromatic Scale The fingerings used in traditional playing have one basic aim : to produce what is accepted as a ‘good’ tone — full, round, and sweet. Modern flutists have developed this skill to an amazingly high degree. Such artists as Julius Baker, Aurdle Nicolet, James Pappoutsakis, and Jean-Pierre Rampal ~ each of whom has a distinctly individual tone quality — have ‘overcome the natural individual tendencies of each pitch and have achieved remarkable uniformity of tone, yielding wonderful results in traditional music. Variety of tone colour is, of course, possible within the framework of traditional fingerings,’ and an experienced player uses tone colour as a means of expression. The concept behind introducing the maximum number of fingerings for the chromatic. scale is to extend the range of tone colour for the flute as far as possible. Many alternative fingerings are found in traditional playing, but they are mainly used to facilitate trills and difficult passages in which the unusual quality of these ‘false’ fingerings is not exposed. Every fingering, traditional or new, has its own distinctive tonal flavour, which can then be modified and extended through embouchure control. The new fingerings introduced in this section often easily yield tone colours that are extremely difficult to produce with regular fingerings and introduce timbres unlike anything in traditional playing. New fingerings are presented up to and including Fs®, Above this pitch, the differences between individual flutes become too great to determine consistent fingerings. The fingerings for each pitch are arranged in order of relationship to the regular fingering, which is always listed first. The second fingering is the one most like the first, * See Chapter?, Section A 14