Here's the Op. 38 Fantasies by Friedrich Kuhlau. Fantasy Nr. 1 has a nice little variation to the Mozart theme "Batti, batti o bel Masetto" from Don Giovanni.
I'm practicing this for an upcoming performance and it feels nice to flex some modern flute technique! Yesterday, I reminded myself to SLIGHTLY RAISE THE RIGHT HAND if I find myself kind of choking the high notes. So for example, if I'm playing a scale is going up, I'd gradually raise my hand just a bit. That seems to guarantee a more secure way of playing notes like high F# and above. Because this is not the normal range of baroque music, it can feel intimidating. It seems to me that by raising the hand, it's an act of working against fear and making sure we don't clamp down in that moment. If you feel some fear, confront it by standing up and standing proud. Resist feeling apologetic. Also, I try to relax my hands and imagine I'm releasing the note, as opposed to just simply playing/producing the note. If you're experiencing a similar issue, try this out and let me know what you think! What's YOUR tip in confronting fear while flute-playing?
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According to the 18th century German composer and music theorist Johann Mattheson, "joy is the expansion of our soul and thus could best be expressed by large and expanded intervals. Sadness is a contraction of the subtle parts of our body, so the small and smallest intervals are most suitable for this passion." (not quoted word-for-word)
I find the concepts of "expansion of the soul" and the "contraction of the subtle parts of the body" really interesting, and as I'm preparing for my Andersen Etudes workshops, the etude in A minor comes to mind, exactly with the pointed contrasts between large and small intervals. You'll find some poignant places in piano and using more neighboring notes, and the large leaps in forte or part of a crescendo. For me, learning about rhetoric and affect in earlier music made me appreciate later music so much more. I learned to notice details as well as the physical and emotional connections with the notes on the page. The "expansion of the soul" speaks volumes than merely "big interval" or "crescendo". It's not enough just to do something in music, it needs to be internalized and FELT. Thus, it is the joy of flute-playing to physically FEEL those expansions and contractions as our air moves through those intervals. This internal sensation really allows us to experience that feeling of affect and rhetoric on an intense level! 🩷What's a sensation YOU love when playing the flute? Addendum from previous post: to create that flying sensation and brilliant staccato in the higher register, try tonguing further back than you would for the mid/lower registers! Your embouchure needs to be well set for the high and work with the lower lip to create space for the notes to sound. The lips also need to be strong enough so you don't end up pinching, which often happens in the beginning. It's about developing that very refined muscle memory to create a glow✨ in the sound.
The C major etude from Andersen's Op. 37 is just such a fun piece to play. In fact, I really don't see it as an etude in the normal sense, but one could easily play this as a nice little encore piece.
In my recording, I've taken up the tempo quite a bit compared to what's indicated on the page. I encourage you all to always make expressive decisions in whatever you play. (technique and expression go hand in hand, but we'll get into that another time!) In this particular etude, Andersen is asking us to examine the flexibility and fluidity in our airstream in the presence of mostly staccato notes, with some occasional slurs mixed in. Staccato, although short, should still show direction and phrasing. Different types of staccati can be achieved by shaping your breath differently: - Should the air (sound) linger on or really cut off? - And how long should the sound go further? - How do dynamics play a part in the passage? Should the notes get louder but all stay equally short, or get softer but linger a bit in the air? (and many other exciting permutations in between!) - How do you direct your embouchure to create an effect? Do you need to slightly shape your lips to create that extra fine tapering in the sound, or have them stay put to have equal sounding lengths? There isn't just one kind of "short", and short doesn't mean less in any way. Short notes can give an incredible sense of depth and brilliance - this is especially important for the high register as often the notes up there can lose body, sounding dull and flat, especially if you have to play them short. Make sure you open your throat/chest/nose as much as you can, imagining the sound coming from deep down. Resist the temptation to simply blowing more and see if you can use the slowest and least amount of air to achieve a warm "glow" in the sound. I've also found, the more the hands can let go, the more your sound will ring. Always keep observing, listening, and feeling. When everything clicks in, it'll feel great! As you can see, articulation is not just about the tongue, but also very much connected to so many aspects of our playing technique. The fun is to be able to piece everything together and at the end, see what you can do to make that final personal touch to create your signature interpretation! In my case, I envision trapeze artists defying gravity and tumbling across the air with this piece. |
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. ✨CONTRIBUTE!✨Yes I love the writing that I do! If you love them as well, how about consider showing your appreciation with a personal contribution? TOPICS:
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