Flute Playing Tips

As air moves slower a low note will result.
Don't tune by using dynamics.
Don't push lips foreword for high notes unless they are soft.
Don't advertise a breath.
Practice with no vibrato to hear true sound.
Don't cover up a problem - expose it & fix.
Look like you are sharing with the audience.
Soft is short.
Don't confuse endings with diminuendos.
Keep head up to slacken the jaw.
Forte = longer note length. Piano = shorter note length.
Forte & Piano are different tone colors.
After a long faded ending due to long phrase begin again at the same strength you left off.
Vocalize before playing.
Don't accentuate the obvious.
Don't edit on the basis of poor technique.
Sound must stay the same when using the tongue.
Every note has a life of it's own.
A short note is always preceded by a shortened note.
Players duty is to present what the composer has written - not what you think he has written.
Intonation is 90% knowledge of instrument.
Look for tension in fingers.
Rules of music are independent of the instrument.
Practice by eliminating that which you don't do well.
Fix one little thing each day.
Anything that you can't do is important.

Posture

· Put the head joint over the shoulder and turn you head.
· Try not to look at the stand. Have the stand turned slightly.
· Keep your shoulders down
· Get in the Habit of looking down at the music so sound doesn't get blocked.
· "[You] must not move the flute with your hands...you can with your jaw.

Warm Up
· Warm up should be done without music.
· Start with a good tone
· Do Taffanel and Gaubert Scales
· Sequences
· Finger Exercises - No Slow fingers
o If you have slow fingers, raise them really high and slap down on the key.
o Use the Bb shake key because it is harder.

Always the Soloist!

Piccolo Tips:
Just like in the higher octave of the flute, piccolo requires that you blow the air through your instrument faster. As you play higher and higher pitches, less air is pushed through the hole of the headjoint, and instead travels across the opening to produce the sound. Practice with just the headjoint of the piccolo. Try to achieve a warm sound - Now try to blow the pitch you hear up an octave without becoming tight in the throat or pushing the headjoint against your face.
1. Intonation.Practicing with a tuner is very important, but also use and trust your ears. Always know your pitch tendencies on problem notes, and more importantly how to make it in tune. Don't be afraid to use special fingerings for intonation purposes. They will only make your job easier.
2. Embouchure.The piccolo is smaller than the flute, so the aperture is as well - but it should not be tighter. Tightening up will lead to a pinched tone, which is a direct root of most intonation problems.
3. Air Stream Control.The piccolo needs a faster air stream than the flute. This does not mean that you have to blow harder or more forcefully. Always have a good reserve and use it wisely, remembering that the piccolo carries well on its own without your extra help. A full and relaxed tone will always project better than a forced one.
4. Air Direction.Air direction plays a crucial role in piccolo playing. Be aware that small changes in air direction can make a huge difference. Keep in mind that when you are playing softly, it helps to aim the air higher to keep the pitch up. And when you are at full volume, you may have to blow more downward and into the piccolo to keep from being too sharp. Also pay attention to large intervals. Proper air placement is crucial for correct intonation.
5. Vibrato.Because the piccolo is smaller, a big flute vibrato is too intrusive. Work toward a vibrato that is not too wide, but rather in the tone. You must vibrate and make it beautiful; however it shouldn't be overly noticeable or obstructive.
6. Think of the benefits.You always get to play solo, your lips will have more flexibility (which will help your flute playing) and your ears will be more fine tuned and ready to detect intonation issues. Don't forget - increased employment opportunities!!Name that tune.Practice a familiar flute piece on piccolo, for example, the slow movement of a Bach Sonata, or the opening of the Fauré Fantasie. Playing something that you are familiar with and know well will definitely help. You are going to want to make it beautiful and you will know when it's not. Pretend like you are playing it on the flute, keeping all of these piccoloisms in mind.
"You cannot prepare enough for anything".

Coming Soon: Performing Mozart!

President's Choice?

Presidents too, it seems, are capable of lapses of memory. President Ulysses S. Grant when asked what tunes he knew replied, "I know two tunes. One of them is Yankee Doodle and the other one isn't."

He never told a lie, as the story goes. So maybe if he were alive today, President George Washington could tell a New York City library what he did with two books he checked out 221 years ago. Due to be returned November 2nd, 1789 the fines now total a whopping $300,000



Volume 12 is missing - checked out October 2nd, 1789 by George Washington.




BAND TIPS:
In order to have a good band it is essential not only for the individual to have a good fundamental knowledge of the rudiments of music and the technicalities of their instrument. It is important to have a good blend and balance.
Sir Edward Elgar once said, “A good musical ensemble is one where all the instruments can be heard at the same time without any one being the dominant”.
I believe that in order to have good blend and balance in our performing groups, not only the director, but also the individual players have to have a more delineated understanding of these two distinct terms – Blend and Balance.

Balance
The concept of good balance in the band is complicated by two factors:
(a) it does not mean equal amounts from each player or each instrumental part, and
(b) higher pitched sounds are more easily heard than are the lower pitched sounds and therefore to produce a given level of sound proportionately less volume is required from the higher pitches than from the lower ones.

For good balance the melodic line (melody, countermelody) must always be heard above the harmonic and rhythmic accompaniment. In each of the Brass, Woodwind and Percussion sections, no one group of instruments (e.g. trumpets) should be more prominent than the others.
When instruments are playing 1st, 2nd and 3rd parts, no one part should overpower the other.
No one player should be heard above the others playing the same part. Consideration should be given at all times to the balance in the chord structure of the harmony, especially in final cadences. The root and the third of the chord should always be heard above the fifth.
Check the next post for some Flute Tips:

Ottawa Kiwanis

I have just finished a week adjudicating at the Ottawa Kiwanis Music Festival where I saw and heard some terrific woodwind soloists and Bands. This is a terrific Music Festival and should be a must for any young musicians to gain performance experience in a positive and constructive atmosphere.

Although the Soloists were all of a very high standard there was a common trend with the Bands (there being a couple of exceptions). Generally the bands tend to overplay the dynamic markings. The best advice I could leave any Band Director and Musician with is "Excitement in music comes from Contrast - not Noise. One should strive so that every instrument in the ensemble is heard with no one being the dominant. Balance & Blend!

Keep posted for articles on achieving the "Best Band Sound" and some tips for "Performance".