It’s generally agreed that Edgard Varèse was the first composer to notate key clicks, in his composition for solo flute written for Georges Barrère in 1936, Density 21.5
Since then key clicks have become widely used in the repertoire. They can provide interesting percussive contrast to melody-based flute lines. There are many wonderful examples of key click use in some of our “classics”, for example, in Brian Ferneyhough’s Unity Capsule, Luciano Berio’s Sequenza, and Toru Takemitsu’s Voice.
However, key clicks don’t come without limitations. Here are a few things that composers, and performers, need to know, and ideally should try out in consultation:
● To perform a key click the flute player must raise one finger higher than normal to strike the relevant key with moderate force, which produces the pitched and percussive “click”. The extra-high-lifting of the striking finger demands a small amount of extra time, which can be particularly noticeable in a sequence of key clicks. Varèse, in Density 21.5, understood this limitation, notating a tempo of crotchet = 72 and employing brief triplet and duplet melodic fragments.
Additionally, Varèse requires that the notes be blown softly while also being simultaneously clicked, giving the overall sound more “weight”. (There are various mouth resonance possibilities which performers and composers can further explore to great effect.)
● A sequence of key clicks can be inadvertently difficult, depending on the fingering combinations. In general striking the G key with left hand “ring” finger is the “go to” option for pitches including and below G on the 2nd line of the staff. The reason for this is that the G key is a double key which creates extra percussive effect (volume). Pitches above that G require a key strike with the right hand (while the notated pitch is of course fingered in the left hand). This right-hand/left -hand striking combined with the right-hand/left-hand pitches can result in complicated and unfamiliar finger movements.
They can be time-consuming to learn. The short cut of simply striking the key of the notated pitch (i.e., using extra-heavy but normal fingerings) doesn’t usually produce a good result. That’s the “lite” version of key clicks, although sometimes, it’s the only viable option.
● The rebound sound that a struck key makes when it returns to its open position must be taken into account. This rebound sound is particularly noticeable where a sequence of key clicks is to be performed, either of repeated pitches or varied. The rebound sounds can obscure the clarity of the gesture.
Essentially, very fast key click passages are not often effective though there is a notable exception in Berio’s Sequenza – a trill between F and F# – which works well through “trill-clicking” with a high finger action, alternating the F and F# keys.
In addition, there’s the major issue of wear and tear on the flute pads (and potentially on the regulation of the mechanism too). No one wants their flute’s pads to wear out quickly, which can be costly to repair and inconvenient. I “think twice” about executing key clicks, especially on my current flute with its super-silent Straubinger pads. A key click on this flute has limited efficacy, and it goes without saying that I’m very reluctant to use extra force for added volume.
In some circumstances it’s possible to change quickly to an old flute for key clicks. I have one especially for this purpose. I call it my “wack” flute. It’s done wonderful service over the years.
Another solution is to substitute tongue or lip pizzicati for key clicks, ideally under consultation with the composer. Tongue/lip pizzicati can be similarly effective to key clicks, as they can create a similarly dramatic change in timbre and dynamic. Both types of pizzicati can be performed in a sequence of varied pitches much more efficiently than with key clicks.
They have the same registral limitations as key clicks, i.e., pitches in the lowest octave of the flute work best, and notes above that, up to F# on the top line of the staff, are possible with some success (you can go higher, with a sort of tongue-pizz + air “fudge”).
Because of the larger size of the keys and the tube of the low flutes (alto, bass, contrabass, etc), key clicks are extremely effective on these instruments. Vox Box for amplified bass flute by Mark Zadro makes great use of key clicks and other percussive or vocal effects, particularly from 3’48” onwards. You can listen on YouTube, or on Spotify, Presto Music, etc:
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Do you love key clicks?
What’s your favourite piece which uses key clicks?
Do you have recommendations for low flute’s repertoire which uses key clicks?
Laura Chislett
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Australian flute player Laura Chislett has established herself on the international stage as a performer, educator and recording artist across a wide range of musical styles. Her recordings, on eleven different labels and multiple streaming platforms, range from Bach and Boulanger, to Ferneyhough and Dench. She has become known for her inspiring and rigorous performances, described as the “Rolls Royce versions” by the legendary composer Horatiu Radulescu.
Laura has a new CD release scheduled for early 2024: ‘In Two Minds’ was recorded last October at Ayriel Studios located in the midst of the beautiful North York Moors National Park (UK). The repertoire consists of eight improvisations, co-created with the composer, pianist and artist, Edward Cowie, for the Métier Divine Art label. The improvisations are inspired by nature, particularly birdsong, and by art, with track titles like “Dawn Bellbirds”, “Guten Morgen, Herr Kandinsky”, “New York-New York” (referring to Mark Rothko and Jackson Pollock) and “Dusk/Night Lyrebirds”.
