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Layering our sound

29/1/2023

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This is from one of my favorite sections in the CPE Bach's solo sonata:
You can create layers in your sound by employing the right combination of articulation and breath work, and when the acoustics is just right you can really experience and enjoy the spatial relationships between the notes.

Articulation and breath work are not really separable topics, because we need the two to function exactly together to achieve the effect that we desire.
​In historical flute playing, we talk a lot about using varied articulation to create "light and shadow" in our sound. However, if the breath is not supporting that, if there's no "light and shadow" in your breath, then we are only half way there. Being able to shape and release the breath is the absolute basis and a top priority in the art of wind-playing.

Hear me live on this topic and get some hands-on playing at my upcoming workshop BEYOND THE ALLEMANDE on Feb. 5!
Workshop Info.
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Always Shaping

10/1/2023

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I'm currently revisiting J.S. Bach's violin sonata in B minor with obbligato harpsichord, BWV 1014 for an upcoming program. Today in my practice I was reminded again of the golden rule - the first note after a tie or long note is most often light. You still have to look at context of course, and suspensions would be an exception, but this is a small detail which can be easy to miss. Take a look at the first two bars of the "Andante" above, which is the second movement of the sonata.
​Apparently, the slur between the A and G is not in the original, but the editor put it in as there are many inconsistencies regarding the articulation grouping of two's. It IS a good suggestion, but one could also tongue lightly and play the G in diminuendo from the A. The "in diminuendo" concept is more important than whether it should be slurred or tongued. This will then set off the B nicely, let it "pop" a little, like just a touch of light on the edges of some clouds. ​In fact, the entire movement is doing just that - the motifs are like wispy layers which keep rising, descending, floating.
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With just 3 notes, we can already create an acoustical layering or texture, making our sound 3-dimensional.

We might think of this kind of phrasing as having more priority in lyrical movements, but this is just as important in fast movements! By doing so, the fast will sound even livelier, without us actually playing faster. Watch out when articulation becomes "stodgy", when the air sounds inflexible.

Always lifting, always shaping.  It's a bit of a paradox of course, that we have to work to sound not over-worked. But it's no different than what singers have to do.
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    ABOUT THE BLOG:

    I got inspired to document ​my own observations in flute-playing and music-making. Also, I thought it's important to pass on the teachings of the great Wilbert Hazelzet, as well as many other mentors who have influenced my artistic visions one way or the other. Enjoy this potpourri of tips, inspirations, and musings.


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  • Home
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    • Teddie Hwang
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