 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.  This may sound like bad flute technique, but it doesn’t need to be. It’s all about doing and using it correctly. For starters, say a couple of times “tudt-tudt-tudt-tudt”. The silent “t” at the end stops the sound and it’s like you’re imitating the signal tone when a phone line is busy. Your tongue comes back to the roof of the mouth, right behind the teeth so that it’s ready to start the next note/sound. You should feel a slight pressure on the tip of the tongue which is holding back the air. Make sure to keep your airstream constant and that you’re not just *pushing out* air every time.
The articulation silence brings clarity, structure, and rhythmic stability to our playing. Without it, the music will sound run-on and without tension. It also prevents playing too fast and losing expression. Every time before you place an appoggiatura, before you start a trill, between repeated notes, leaped notes, and musical phrases are some of the common places to use the articulation silence. Here's a breathing exercise which I learned in my very young years when I first started out playing the flute. It'll train stability and longevity in your airstream, and train your body muscles for a type of controlled breathing which we don't normally do in daily life, but necessary in flute playing. It's also a great way to relax and to remove nervousness in the body. I recommend this to all levels of players.
You can either count or have a metronome beating at 60. (I prefer to use a metronome, that way I can totally concentrate on just the breathing aspect, but it's also great to do this while on a bus or waiting in line anywhere without a metronome!) 1. Breathe over a certain number of beats. Be careful to start easy if you're not sure where you are in terms of physical fitness. This exercise can tire one out, especially as we lengthen the number of beats. Perhaps start at around 5 beats and observe how you feel after each round. 2. Hold your breath over that same number of beats. Make sure you don't close or clamp on your throat. 3. Breathe out over that same number of beats. You can also form a embouchure as if you're playing flute. 4. Hold your breath again over that same number of beats. This completes one round. Repeat a couple of rounds, always observing yourself and stop if you feel uncomfortable in any way. When this number of beats becomes rather easy for you, increase it by one and continue forward. But also, reduce the number of beats if need be! The point is to develop from whatever level you're at. Give it a try and let me know how it goes! |
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