Conquering the Third Octave
by Pamela Rowe
Pam Rowe

Copyright 2004 by Pamela Rowe
May not be reproduced in any form without prior consent.
All rights reserved.


When I was a beginner, I avoided the third octave for several reasons: I found the fingerings rather mysterious; my embouchure was too tight, which at times resulted in spitting and buzzing rather than producing the desired note with a nice sound; and besides all this, I loved the sound of the low notes! So my practice time wasn't balanced with high note studies, but instead, I focused on technique and tone,. spending most of my practice time playing the first two octaves.

Fingering
As it turns out, the fingerings for high notes aren't very mysterious at all. As a teacher for many years, I have discovered that the easiest way to teach the fingerings for the third octave is to relate them to 2nd (and many 1st) octave fingerings.  Here is what I mean:

Note

2nd Octave Fingering

Change for 3rd Octave

3rd Octave Fingering
D2   TH 2 3     1 2 3 lift RH 1 2 3, add RH 4   TH 2 3                4
D#2/Eb2   TH 2 3     1 2 3 4 add LH 1, LH 4 1 TH 2 3 4    1 2 3 4
E2 1 TH 2 3     1 2    4 lift LH 3 1 TH 2           1 2   4
F2 1 TH 2 3     1       4 lift LH 2 1 TH    3         1      4
F#2/Gb2 1 TH 2 3          3 4 lift LH 2 1 TH    3             3 4
G2 1 TH 2 3             4 lift TH 1      2 3                4
G#2/Ab2 1 TH 2 3 4          4 lift LH 1, TH        2 3 4             4
A2 1 TH 2                 4 lift LH 1, add RH 1   TH 2            1      4
A#2/Bb2 1 TH               1    4 lift LH 1, RH 4, add Tr 1   TH               1 Tr 1
B2 1 TH                     4 add LH 3 Tr 2, lift RH 4 1 TH    3          Tr 2
C2 1                          4 add LH 2, 3, 4, RH 1; lift RH 4 C4  1 2 3 4

Note:  RH 4 is not used in the three highest notes.

The Unwanted Sound
Some students in my studio have experienced the occasional problem of spitting or buzzing a high note. The cause of the buzz is undoubtedly too much tension in the lips. It is important to realize that the notes in the third octave are produced not by blowing harder or more — but instead, by forming a smaller aperture (opening) in the lips and increasing the speed of the air stream.
Smaller opening and faster air = successful high notes!

 Intonation
The natural tendency of the flute is to be flatter near the bottom of the first octave and to be sharper in the third octave. There are exceptions to this general rule; for instance, A#3/Bb3 tends to be flatter than the notes around it. It is always a good idea to work with a tuner to learn the idiosyncrasies of your own instrument and then learn to compensate. And please do periodically check the position of the cork in the headjoint. The tuning rod is scored near the bottom. To check the position of the cork, insert the scored end of the rod into the headjoint. That line should appear in the center of the embouchure hole on the lip plate. If the cork has moved in either direction, the intonation will be affected, particularly in the third octave. And above all, listen to yourself and to those around you., and make necessary adjustments.

Studies
Eventually I discovered that the third octave high notes can be as beautiful as the notes in the lower registers. These days when I practice, I always incorporate high note studies in my daily warm-ups. Not only do they improve my general tone quality in the third octave, but they also increase my self confidence about being able to play those notes well.

I recommend three books that are helpful in learning to better execute the third octave:

1) Harmonic Fingerings for the Flute: Studies in High Notes
by Arthur Brooke (published by Cundy-Bettony).

This book of exercises teaches the player to use harmonic fingerings to produce third octave notes. This is particularly useful when fingering is awkward and passages are fast. The other great benefit of practicing harmonics is to develop greater lip flexibility.

2) Studies for Facilitating the Executing of Upper Notes
by Daniel S. Wood (published by Carl Fischer).

Eight exercises are included in this book, most of which cover all the major and minor keys. The exercises move up by half steps, thus taking the player gradually up to the higher notes much the way a singer warms up.

3) Top Register Studies for Flute; 90 Melodious Studies
by Thomas J. Filas (published by Carl Fischer)

The Filas book contains 90 3-line studies each in 12/8 time with a minimum of 3 studies for each key signature, major and minor. These studies are tuneful and interesting to play as well as being challenging. This book is my personal favorite and one I use with regularity. 

In conclusion, as flutists, our goal is to make the entire range of the flute musical and sonorous. With careful study and diligent practice, it is possible to make the notes of the third octave easy to produce and beautiful.

Pamela Rowe
(Former Flûtée member, 2001 - 2007)

 



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