This is from one of my favorite sections in the CPE Bach's solo sonata:
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!
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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. 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. Continuing with the idea of concentrating on the breath rather than the tongue for articulation - practice first without any tongue at all, deep and short "huh". Notice any squeezing in the lips, throat, and HANDS. Ideally, hands should always feel floppy, like just sort of hanging onto the flute. A sign of this is you can feel the vibration of the sound through the hands. I say ideally because it gets difficult during a technical passage, but we just have to keep constantly reminding ourselves.
This is part of a free sound production. Then when we use the tongue, experiment whether just using the very tip of the tongue barely touching the edge of the teeth is enough. If it's well-supported and backed up by the air we just practiced, it might be just enough already. Sometimes it's easy to think that articulation is something separate from air. But actually, when experiencing a difficulty in articulation, check and work with the air first. Very often, we actually focus too much on the tongue (tonguing too hard, tongue feels "tense" or slow) and not enough on the air. Accents, for example, should be backed up by the abdomen and not from the tongue or even embouchure alone. Otherwise the sound is killed. We end up having a lot of tongue and little remains of the sound. This can also cause slowing down in a passage.
One also doesn't do much favor by "kissing" the sound - keep lips in place and work with the breath. Look in the mirror and one might be surprised. Articulation is dependent on air, just like photography is dependent on light. Remember to keep to keep column of air open and deep. Free movement of air in body. May need to first train with "Duh", tongue not so far forward as lips may not stand pressure. Can train over time. Especially important for higher register. Watch out that the lips don't clamp due to air pressure, register, nerves.....
Sound must come from beLOW. Watch out that it doesn't creep up while playing. |
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. TOPICS:
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