TIP OF THE WEEK: "Retention" of air

We had a great session with Eve Friedman talking to people about tone development on the baroque flute! It's always refreshing to hear how somebody else explains or approaches an aspect, in addition to feeling a sense of confirmation which reminds me that I'm not just alone and weird in my thoughts and experiences😅....I certainly picked up a number of new ideas and am looking forward to trying them out, whether in teaching or in playing.

In the beginning of the talk, I summarized Eve's first section of the book, which is a summary of various treatises in terms of tone. With the slide shown above, I mentioned that early authors often weren't clear about addressing the difference between the volume of air versus the speed of air used for playing (see first three quotes). The quote from Lewis Granom though struck a bell, as it's very interesting that he uses the expression "retention" [of air]. Neither a lot of air nor fast air contribute to a beautiful, well-controlled tone. 

I'm often telling my learners to slow down with their airstream, the difference is quite significant especially if you're coming from modern flute playing. One imagery that's often helpful is also to think about using "warm air". Compare blowing warm versus cold air, and you'll find that not only the air speed slows down, you'll also naturally lower your jaw and deepen your mouth cavity, which is great for sound. The baroque flute responds so much better when using this approach, whether it's about resonance, purity, improving and stabilizing intonation...the list goes on! If this concept is new to you, do be patient with yourself and don't be surprised that you'll have to keep reminding yourself of this. This is very delicate work that only you can help yourself by constantly feeling and experiencing internally. 

Thus, I would relate to Granom's idea of "retention" as using warm air, not simply blowing, but a kind of a conscious release which uses the minimum to achieve the maximum. This inner resistance against "fast air" is often difficult when you're feeling nervous, and is also something that needs time to develop. (read my blog here about performing in high-pressure situations)
This also happens to correspond to Wilbert Hazelzet's concept of "don't play", which I know can sound so elusive at first! Part of what he means is, again, to discover a way of playing that's efficient and precise at the same time. That we avoid any unnecessary action or movement or energy. I would say though, this idea of "don't play" can also actually cause tension at first, so just keep this at the back of your mind if you're just starting out on the baroque flute. 

The following CPE Bach demonstration video wasn't made to directly address this point, but you can hear the difference between "great deal of wind" versus "retention of wind". Turn up the volume or consider using headphones. You'll hear a loud, rough sound and a softer but more resonant sound. The "retention of wind" in the second version is the type of airstream that will provide a solid foundation for a sound that's consistently pure, flexible, and in-tune. Try it out and let me know how it goes! 

Below is also the video replay of our session with Eve.