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As I start to run out of air during flute training, I and many players "push" harder for those last few notes. When I do this during flute training at my Los Angeles school, I'm actually using the air as fuel to tighten muscles as opposed to sustaining tone. Instead, I can compensate by tightening my embouchure. A tighter embouchure injects air into my flute at a higher rate of compression, which stops the tone from lowering. Maintaining a tight embouchure in flute training, combined with taking sudden and powerful breaths, will keep me from going flat at the end of my phrases. Posted by Mikasa Everyone in my neighborhood band tries to remember (at least I do) how our parents and teachers telling us to speak up when addressing either a single person or a group of people. I've noticed the same holds true when playing the flute. If I don't support and project my sound I will not be a part of the conversation. I've seen a lot of students who are very good players, but do not project their sound outward. It is as if the sound is trapped at a spot in the center of their upper chest. They are convinced that they are blowing very hard and making a big sound, but actually, they are not releasing their air at all in their flute training. Posted by Rekhi The finger vibrato is one good flute training technique I use in my Los Angeles orchestra. One of the most common notes to use a finger vibrato on is the low G. This one works the best because if I look at my flute I'll see I'm opening and closing the largest tone hole displacing the largest volume of air possible. I try to play my low G note, and raise and lower my finger over the fifth tone hole, touching the flute very lightly as I do so. I always notice that the note "quivers" at whatever speed I move my finger up and down. Posted by Adi Browse All Discussion » |
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