 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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 I recently received a question about how to deal with the left hand tension on the baroque flute. Especially if the flute model is a larger instrument (say early baroque, or a 3-part instrument where the middle joint is in one piece, or a flute in low pitch), it can really present a problem for players. Add the fact that the 4th finger is our weakest finger, the stretch between our middle and 4th finger can feel impossible.
If you come from the modern flute, you may wonder how people played back then. The problem may never disappear for some players, but I thought to offer what has helped me so far: Try to stand securely, perhaps the feet wider apart than you might normally do, and really shift the center of foundation to as low as possible. When playing, try shifting your weight between your feet every now and then, for me that helps free up that feeling of tension in the hands and allow the fingers to move as relaxed as possible. If I feel like I don't have a solid base, it exacerbates the problem. And now here's maybe a weird visualization - I imagine I'm able to extend my fingers longer than they actually are, somehow that helps me feel like I'm able to accommodate that big stretch and also further relax the fingers. When they're in tension, the fingers bunch up and "become short", which is not desired. Make them long. Also, play around with the position of your left thumb - how does it feel to place it between your 2nd and middle finger? I used to play mostly with the thumb under the 2nd finger, but have found by moving it further down it can help me with 4th finger movements. Since the 4th finger is the weakest finger, I once got a tip from the Italian flutist Laura Pontecorvo to sometimes practice without the thumb. (See my post about it here!) I found this trains the 4th finger to be more independent and may perhaps help improve the issue. I wonder if any of this helps for people. Let me know and feel free to chime in with your way! Above is a photo of my big flutes - a 4-part Scherer and an Hotteterre flute, both by the late Claire Soubeyran. |
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? 
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