Description
Soft Rain & White Staircase by Ian Clarke for Flute & Piano
Soft Rain & White Staircase by Ian Clarke for Flute & Piano
Publisher – IC Music
Soft Rain Publisher Info
The title Soft Rain attempts to hint at some essence of the piece however it is not a programmatic title. The piano part has liquid quality above which the flute gestures and sings. One might think of Summer rain falling on a beautiful stream or river. Alternatively, you may wish to experience it entirely as a personal response to the music directly. The music is the most articulate description of itself.
Bends – It’s preferable to perform on an open-holed instrument in order to execute the bends which are integral to the piece. The diamond-headed notes are played with the open-holed fingerings indicated. The transition to and from this fingering will give the bend effect. This is most often done via the opening of one open hole. A fluid movement in the hand is desirable both to enable a smooth technical execution and to mirror the smooth gesture.
Closed-hole flute players may find the piece works well playing the diamond-headed notes with regular fingerings.
Open-hole finger vibrato – this is indicated by a wavy line e.g. bars 54-57. Moving from the regular fingering to the given open-hole fingering gives a strong pitch vibrato. At the time of writing this is an unusual technique for the vast majority of flute players so it is recommended to give time for it to develop in the body. The fluidity in the hand and wrist that a string player uses is some indication of the technique. Start with very slow elegant movements and allow these to become more natural over days and weeks. Open holes are required for this technique, however, the score indicates a trilling alternative for closed-hole flute players at bars 54-57 and 160-163. In measures 62-63 and 168-169, the open-hole finger vibrato is optional so it can be omitted if on a closed-hole flute.
High Bb to C trill. This trill comes on several occasions and doubtless many players and teachers will have suggestions. At the time of writing this fingering pair might work well.
White Staircase Publisher Info
White Staircase – performance notes (Bft with Cft alternatives, open-hole with closed-hole options)
In memory of Averil Williams 1939-2018. Professor of flute at the Guildhall School of Music for 50 years.
Thank you Averil on behalf of so many.
The title White Staircase gives some hint of the feelings and thoughts one might experience through the piece. There is a clear sense of cyclic ascension in the ascending 5’s in the piano hence the ‘staircase’. The flautist in particular is encouraged to explore a variety of colours and textures; white light comprises all the colours of the spectrum.
Smorzato-vibrato (e.g. 62-73) – This is an exaggerated vibrato produced by pulsing the air stream along with some subtle lip aperture changes. As with regular vibrato, the result is led by listening. The idea is to transition to and from a halting effect. The approximate rhythm of the smorzato-vibrato is indicated in the stems down voice and the sustained sound is given by the the stems up voice. The size of the note-heads for each voice grows or shrinks to indicate the transition into and out of the smorzato-vibrato.
‘tse’ – beatbox hi-hat (e.g. 145-165) – this rhythm figure alternates between regular flute sound and the beatbox hi-hat sound created by saying a sibilant ‘tse’. It isn’t necessary or intended that a regular flute sound is simultaneous with the ‘tse’. The technique requires learning to switch between flute sound and saying ‘tse’. The flute remains in position.
Harmonics (166-172) – this is a simple alternation between regular C# and the harmonic from low C# as indicated. Articulate as indicated which means that all the C#s except the first one are not tongued.
Bends (e.g. 176) – this is an optional bend using the fingering indicated.
Quarter-tone inflections (e.g. 223-239) – use the fingerings given to inflect the notes as indicated. You might find that you very subtly adjust the air speed or lip very slightly to enhance the effect although it is primarily a fingered effect. This is in contrast to primarily lipping/bending effect used in the piece Deep Blue which readers might be familiar with.
Composer/Flautist-Ian Clarke
Ian Clarke (born 1964) is an esteemed flautist and composer, regularly invited as a guest soloist and instructor at major conventions worldwide. His performances and teaching engagements have spanned countries including Australia, Brazil, Canada, Iceland, Japan, various European nations, the United States (National Flute Association), and the United Kingdom (British Flute Society).
Notably, at the 2017 NFA convention in Minneapolis, he premiered his new concerto for flute and strings. Ian’s albums, such as the highly regarded ‘Within,’ have achieved significant success in the flute world, including ‘Deep Blue’ reaching the top 10 in the UK Classical Artist Chart.
He has conducted masterclasses at prestigious institutions like the Royal Academy of Music, Guildhall School of Music & Drama, Juilliard School, and Manhattan School of Music.
Ian’s musical versatility extends across genres, from classical opera to guest appearances with rock group Jethro Tull/Ian Anderson.
Ian pursued part-time studies at the Guildhall School of Music in London, where he excelled as a prize-winning student. Concurrently, he earned an Honours degree in Mathematics from Imperial College London.
Currently, Ian holds the position of Professor of Flute at the Guildhall School of Music & Drama. His collaborations with musician and composer Simon Painter have yielded compositions for film and television. Additionally, Ian proudly represents the flute brand, Miyazawa, as an International Miyazawa Flute artist.
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