 This is to create space and avoid pinching or closing up of the lips as we play higher. If your lips buzz or shake in the beginning, it’s absolutely normal! The very fine lip muscles need to be developed so that they’re strong enough to form the proper embouchure and also to withstand the necessary air speed.
0 Comments
 Because they require so few fingers, are so easy to play, and so open in tone quality, they thus can sound rough and go sharp very easily. Keep the sound "dark" by not blowing to the fullest extent, using slow and "warm" air. They are often the hardest when you're descending onto them in a passage, as coming from a higher place means your air will be too fast for them. Thus for example, we'll need to pay fine and nuanced attention to the opening of a G major scale (G-A-B-C-D), a seemingly "easy" scale on the traverso.
 When I play, here's how I group notes internally to gain proficiency and efficiency. Remember that a small change will make a big difference already! Try to keep low A and B a bit "dark" in color and listen that it's not too sharp. Low C can be a little low and dull, so you'll want to open and brighten up the sound. Make sure you COME BACK DOWN again for the D. E and F# will have similar qualities, so aim a little higher, the same applies to second octave A and B. Then high C and D can again be sharp, so make sure to keep them also dark and relaxed. Try to think *OPEN* if bringing up a pitch, AVOID *PUSHING OUT* air or using *cold* air. Try to think *FOCUSED* & *WARM AIR* if bringing down a pitch but NOT CLAMPING down.
By grouping tone tendencies together and, very importantly, ANTICIPATING THEM in advance, you'd be on your way for super efficient traverso playing. You can start by practicing sections of a scale within intervals of 5ths (G-D, D-A, A-D or further if your embouchure allows) to really internalize these relationships within a scale and key. This is why it's important to practice scales and arpeggios, so that all these relationships between notes in various keys are absolutely ingrained in you, they become a part of you like a singer who can sing freely, or a string player who knows where all the notes are on the fingerboard. We want to always reduce effort, even if it feels secure at first. LESS is MORE. |
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:
|
RSS Feed