When I took up playing the recorder in my childhood, I especially liked playing modern repertoire

with all the nice special eects. It stimulated my fantasy. Years later, when I started to study the
ute with mostly classical repertoire, I totally forgot these great eects. I was too busy trying to
control my instrument.
During one of Wil Oermans master classes, I again got in touch with extended playing
techniques. A whole new world of possibilities opened up before me. Not only did I discover
new ways of playing the ute, I also found that studying these techniques increased my control
over the instrument. Furthermore, it had a very positive eect on my regular playing technique.
My slogan became: If I can play it, I can also choose not to play it.
The exercises in this book are meant to widen your view of playing the ute and enhance your
control over the instrument. You will be taught how certain techniques can oer you a new
approach to recurring challenges. Each chapter contains some exercises for the beginner as
well as the expert. Take an open-minded approach to the exercises. Enjoy doing them and have
fun along the way. It is the way to your goal that matters, not the goal itself.
On utecolors.com/book you will nd instructive videos accompanying each exercise.
Practise and enjoy!
Rogier de Pijper

1.

Harmonics

2.

Flutter Tongue ............................................................................................................................... 11

3.

Wind Tones / Residual Tones .................................................................................... 14

4.

Tone Bending

5.

Key Clicks .............................................................................................................................................. 22

6.

Sing & Play ........................................................................................................................................... 26

7.

Pizzicato / Slap Tongue

8.

Tongue Ram / Tongue Stop

9.

Quartertones & Microtones ....................................................................................... 35

............................................................................................................................................. 5

10. Whispertones

.................................................................................................................................. 18

..................................................................................................... 30
......................................................................................... 32

................................................................................................................................. 52

11. Multiphonics ..................................................................................................................................... 56

12. Circular Breathing

................................................................................................................... 58

Flute Colors

Studying this technique is useful for:

Embouchure control
Air control and support
Aural skills
NOTATION

& O

& O

&

EXERCISE 1.1

U
& w
U
& #w
U
& w

O
O

Harmonics are notated with two notes written over each other.
On the high note youll nd a little open round.

The diamond shaped notes indicate the ngering you should use.

The regularly shaped notes indicate which note should sound.

Play the harmonics. Only use your airspeed without changing your embouchure.
Practise slowly.

U
w

U
b w

U
w
~

U
w
~

U
w

U
w

U
#w
#~

U
#w
#~

U
# w

~
#U
w

~
U
# w

~
U
w

U
w
~

U
w
~

U
w

#~

U
# w

#~
U
w

#~
U
w

#~

Also practise legato.

TIM00026-02

Flute Colors

EXERCISE 1.2

4
&4

Aw

U
& # #O
Aw

&

Aw

Play the harmonics. Use vowels to get to the next note. aw as in law and i as in ship.

Aw

Aw

Aw

_ Ui

_ Ui

#O

#O

U
#
#
#O O

U
# #

Aw

O
i

Aw

Aw

O
i

Aw

U
#
O

Aw

U
# #
#O O

Aw

#O

U
b

Aw

Aw

Aw

Aw

Aw

_ Ui

Aw

EXERCISE 1.3

O O O O O

O O O O O

#w
#~

b b
& bO bO O O O

b b
bO bO O O O

b b
bO bO O O O

nw
n~

& O O O O O

O O O O O

O O O O O

#w
#~

b
& bO O O O O

b
bO O O O O

b
bO O O O O

bw
b~

4
&4 O O O O O

Flute Colors

EXERCISE 1.4

3
&4 O O

O O O

#
# O O

# #
#
#O O O

#
#O

& O O

O O O

#
#
# O O

# #
#
#O O O

#
#O

& O O

O O O

O O

O O O

#
& # O O

# #
#
#O O O

#
#O

O O

O O O

#
#
& # O O

# #
#
#O O O

#
#O

O O

O O O

Make sure the intonation of the harmonic and the regular tone is the same.

EXERCISE 1.5

& O

#
#O

#
#O

& O

#
#O

#
#O

TIM00026-02

Flute Colors

EXERCISE 1.6

4
&4 O
O
#

& # #O O

#
& # O O

& O O

& O O

EXERCISE 1.7

Try to get the intonation right in every second bar. The harmonic is too low, but for
exibility it is good to try to get the same intonation.

O
#

#O
#
#O

# #
# O O

O O

O O

#
# O O
#

#
# O O

O

O

#
#O

O

O
#
#O
#
#O

O O

#
#
# O O
#

O O

O O

O
#
#O
#
O

O

Practise legato and staccato

4
& 4 O O O O O O O O
O

#
#O

# # #O O #
# O #O #O O O O # O

#
O #O O O O O O
# # # #
& O #O #O O O O # O # O

b
bO

n
nO

b O O bO
bO
O
b
O O O bO
O

#
O #O

n
nO

& O

# # O O

& #O #O #O O O
b

b b bO
O O
& bO bO O
8

b
O O b O

b
O O O bO

n
nO

O O O O

#
#O

O O O O O O O O O

Flute Colors

b
bO

EXERCISE 1.8

4
&4 O

Practise legato and staccato.

# #

# #
#

&
# O #O #O #O O O O O

# # # # #
# #
#
O
O O O
#O #O # O

# n

n # n
n

& nO nO #O nO O O O O

#
#O

b
O O

b n
& bO nO

b b n
O bO O O

# n

n # # nnO
& nO #O #O
O O O O

n n
& nO nO

b n n
O bO O O

n
O O

# #

# # # nnO
& #O #O #O
O O O O

n n
& nO nO

n n n # n
O nO O O O O

b b
& bO bO

b b n
O bO O O

TIM00026-02

b
O O

#
O O

b b
O bO bO

# #
#O #O

b
O O

# #
O O O

b
O bO

# # #
#O #O #O

# # #
O O O O

#
O

b b
O bO bO bO

Flute Colors

b b
O O O
9