Placeholder Image

Subtitles section Play video

  • Hi, I'm Sgt. 1st Class Sarah McIver.

  • I'm Staff Sgt. Sean Owen.

  • I'm Staff Sgt. Gina Sebastian.

  • I'm Staff Sgt. Katayoon Hodjati.

  • and I'm Staff Sgt. Kasumi Leonard.

  • and this is "Flute Fundamentals".

  • [Music]

  • Welcome to "Flute Fundamentals."

  • The flute section of The U.S. Army Field Band

  • has drawn on our many years

  • of performing and teaching experience,

  • added some great advice we've received from our own teachers,

  • and collected it all here for you.

  • The first-year beginner, the serious flute student

  • and the music educator will all find interesting

  • and useful information here.

  • You can also go to armyfieldband.com

  • to find downloadable recordings,

  • printable arrangements,

  • exercises, and books and literature

  • that we reference throughout the program.

  • All of these are great resources for flutists

  • and music educators.

  • Thanks for watching "Flute Fundamentals."

  • [Music]

  • The flute has always been a very popular instrument,

  • dating back over 43,000 years to the Prehistoric Era.

  • Prehistoric bone flutes have been found in Germany

  • and in China, and were end blown like a recorder.

  • Throughout the Middle Ages,

  • flutes and flute-like instruments are shown

  • performing a variety of functions in society.

  • We see flutes playing outdoors,

  • in religious services,

  • and inside for entertainment.

  • By the end of the Middle Ages the flute family split

  • into two groups,

  • the flute that plays outside such as the fife

  • and the flute that plays inside

  • such as the ancestor of our modern flute.

  • In the 1400's, fifes were widely used by militaries

  • as a signaling device and are still used today

  • for parades and ceremonies.

  • Modern fifes now have 10 holes so they can play chromatically,

  • but they still don't have any keys.

  • Renaissance style flutes for indoor use

  • were typically a cylindrical wooden tube with a wide bore,

  • six fairly large tone holes and no keys.

  • Without keys it was difficult to play

  • all of the chromatic pitches we play today.

  • Flutes in the Renaissance were often made

  • in a variety of sizes, called consorts or families.

  • Flute consorts were so popular that many Royal courts

  • in England, Hungary, Madrid, and Stuttgart

  • each owned dozens or even hundreds of transverse flutes.

  • Around the 1680's, instrument makers gave the flute

  • an overhaul and added a key.

  • The key allowed the flute

  • to play all of the chromatic pitches.

  • With this new development,

  • the flute began appearing in the orchestra.

  • One of its earliest appearances

  • was in Jean-Baptiste Lully's opera Le Triomphe de l'Amour.

  • When the flute entered the orchestra,

  • its popularity skyrocketed.

  • Many royal princes such as Louis the 14th of France,

  • and Frederick the Great, King of Prussia,

  • began to learn the flute.

  • With so many royals studying the instrument,

  • the flutists of the day

  • had to write books explaining how to play.

  • The royals could also afford to hire flutists

  • to teach them.

  • Johann Quantz was employed by Frederick the Great

  • for 32 years.

  • Baroque flutes have a cylindrical headjoint

  • and a conical body that tapers towards the far end.

  • The closed Eb key on the footjoint makes the flute

  • fully chromatic over a two-and-a-half-octave range.

  • This great advancement encouraged composers

  • to start writing for the flute as a solo instrument.

  • Works by Blavet, Bach and Telemann

  • are still in our repertoire today.

  • The Baroque flute worked well as a delicate soloist

  • in an orchestral texture, but was not able

  • to play equally strong in all keys.

  • Generally speaking, the sharp keys of G, D, and A

  • are stronger than the flat keys of F, Bb, and Eb.

  • This explains why so much of the beginner flute repertoire

  • from the Baroque era is in a sharp key!

  • Listen to the difference between these two scales.

  • [Music]

  • Now listen to the same scales played on a modern flute.

  • [Music]

  • [Music]

  • In the Classical era, composers such as Mozart and Haydn

  • wrote in a style that was faster, louder,

  • and more dramatic,

  • and the flute needed to keep up.

  • Flutists began altering their instruments in many ways

  • to encourage a louder high register

  • or more facile technique.

  • The great virtuoso players of the 19th century,

  • Franz and Albert Doppler,

  • Charles Nicholson,

  • Joachim Andersen,

  • Anton Furstenau,

  • Jean Tulou, and Theobald Boehm,

  • helped spread the flute's popularity

  • and increased its solo repertoire.

  • Many of these flutists altered their own instruments

  • in an attempt to improve the design.

  • Theobald Boehm, a flutist and inventor in Germany,

  • made many attempts to construct a new 'ring key' mechanism

  • and unveiled a metal instrument in 1847.

  • The new design reversed the inner bore shape of the flute -

  • it is a cylindrical body with a tapered, parabolic headjoint.

  • The reworking of the mechanism meant all new fingerings

  • had to be learned.

  • Boehm's 1847 design is the basis for our flute today.

  • However, there were many rival designs.

  • Some players still preferred wood,

  • and others still preferred the old bore shape.

  • Despite that, the metal flute was accepted

  • at the Paris Conservatory in 1860,

  • earning Boehm and his flute a permanent place

  • in flute history.

  • In the 20th century, some small changes were made

  • to Boehm's original design.

  • In the 1960's Albert Cooper and a group

  • of English players re-scaled the Boehm flute to play at A-440,

  • and in order to achieve even greater tonal projection

  • and clarity, made minor alterations

  • in the method of embouchure hole cutting.

  • Another modern addition to the flute is the C# trill key,

  • which makes trilling from B to C# much easier,

  • and gives a reliable third octave G to A trill.

  • Flutists today can also choose to have their flute made

  • from a variety of metals and even wood.

  • Remember the Renaissance "flute consort"

  • with its many different sized instruments?

  • When the flute was overhauled by Boehm,

  • the rest of the flute family, including the piccolo,

  • Eb flute, flute d'amore, alto flute, bass flute,

  • and contrabass flute were also redesigned.

  • The piccolo is the highest member of the flute family,

  • sounding an octave above the flute.

  • Beethoven first used the piccolo in 1809

  • in his Fifth Symphony,

  • and it's been used in the orchestra ever since.

  • The concerto and recital repertoire has grown

  • dramatically and the piccolo is still gaining popularity

  • as a solo instrument.

  • The alto flute is pitched in G, a fourth below the flute.

  • It's occasionally used

  • in contemporary orchestral repertoire, most notably

  • in Stravinsky's Rite of Spring and Ravel's Daphnis and Chloe.

  • The bass flute sounds an octave below the flute.

  • There are a few orchestral and solo pieces that use the bass,

  • but because of its size and difficulty

  • with projection and response,

  • it's most commonly used as the lowest voice

  • in a flute ensemble.

  • Flute ensembles, often called flute choirs,

  • are a valuable teaching tool.

  • They give multiple flute students the opportunity

  • for chamber music experience,

  • and help with intonation and blending.

  • Many flute clubs offer flute choir reading sessions

  • and competitions for composers,

  • encouraging more literature to be written for the ensemble.

  • Let's bring the rest of the section out to demonstrate

  • how these different instruments sound together.

  • [Music]

  • [Music]

  • [Music]

  • [Music]

  • As Kasumi just demonstrated,

  • the first step to playing the flute is learning

  • to make a good sound.

  • First, put the headjoint up to your lips.

  • It should be about here,

  • so your lips don't cover the hole.

  • You don't want it too far away,

  • or not enough air will go in.

  • Have you ever made a sound on a bottle before?

  • Grab a bottle, and blow across the hole.

  • Playing the flute is similar,

  • but you'll need to angle your airstream down a bit

  • so it's around forty-five degrees.

  • Remember, don't cover the hole with your lips.

  • If you aren't getting a sound, try this,

  • but make sure your lower lip is still flexible.

  • If you can't tell where you're blowing,

  • hold your hand in front of you and blow into your palm.

  • Then, move your hand up and down slightly,

  • always keeping the airstream focused on the same spot.

  • Once you can produce a sound, try making different sounds.

  • Cover the end of your headjoint with your hand,

  • keeping your palm flat.

  • You should get this lower sound.

  • [Music]

  • Now uncover it and try for a higher sound.

  • [Music]

  • Once you can get these two sounds,

  • you can try to go for an even higher one

  • by covering and uncovering the end of the headjoint.

  • [Music]

  • For lower sounds, pretend you're blowing

  • through a big straw.

  • You can also try to aim your airstream a little lower.

  • For higher sounds,

  • pretend you're blowing through a tiny straw,

  • but don't let your lips get too tight.

  • The opening in your lips, or aperture, should be smaller,

  • but not tighter.

  • Also, it might help to aim your airstream a little higher

  • and let your lips come forward slightly.

  • When learning to make a good sound,

  • it can be very helpful to use a mirror.

  • Try rolling the headjoint towards you and away from you,

  • or moving it up and down slightly on your lip

  • until you get a sound,

  • but don't move your head up or down.

  • Keep your chin parallel to the ground

  • and your eyes straight ahead.

  • Once you make a sound you like,

  • look in the mirror to see where the best spot is

  • and try to put it in the same place every time.

  • After a while, you'll be able to feel

  • where the right spot is.

  • [Music]

  • The word "embouchure" refers to the way you shape

  • your facial muscles and lips on the headjoint.

  • There are as many different embouchures

  • as there are flutists.

  • Some are symmetrical, and some are a bit off-center.

  • The important thing is not to tense up your lips.

  • You might hear someone suggest that you should smile

  • to form a flute embouchure,

  • but this causes tension and should be avoided.

  • It's also really important to keep your jaw relaxed.

  • You need space in your mouth and between your upper

  • and lower teeth to make a good sound,

  • but never force your jaw into position.

  • A nice, full sound starts with good air flow,

  • and that starts with a good breath.

  • A good breath means no tension in the body.

  • Stand with your spine straight,

  • but don't pull your shoulders back

  • so far that your back tenses.

  • Let your arms hang by your side and take in a deep breath

  • through your mouth.

  • Your stomach, chest, and even your back will expand

  • if you're relaxed.

  • A good way to tell if you're breathing correctly

  • is to lie on your back and put a book on your lower belly.

  • When you inhale, the book should rise.

  • When you exhale, it should fall.

  • Although your chest will expand when you breathe,

  • it shouldn't move too much.

  • Your shoulders should remain relaxed.

  • One of my favorite breathing exercises

  • comes from the Breathing Gym, by Pat Sheridan and Sam Pilafian.

  • Put your lips against your finger,

  • or the back of your hand.

  • Can you hear the low sound I'm getting?

  • [Breathing]

  • A deep breath without tension sounds like "HA" but backwards.

  • If you're doing this, you'll get a low sound.

  • If you're tense, don't leave enough room

  • in your mouth and throat, or don't take in enough air,

  • your breath will sound high and shallow, like this.

  • [Breathing]

  • Once you've been playing your headjoint for a while

  • and can make both high and low sounds, you're ready

  • to play the whole flute.

  • First, take the body of the flute

  • and put it on the headjoint.

  • It's very important not to bend the keys.

  • Always hold it from here, where there are no keys.

  • Don't push the headjoint all the way in,

  • leave it out about a quarter of an inch.

  • You can adjust it later when we work on tuning.

  • Line up the embouchure hole with the first key.

  • For some people, turning it out slightly works best,

  • and for other people, turning it in slightly is better.

  • For now, line them up.

  • Next, take the footjoint and attach it to the body.

  • Hold it with the keys CLOSED.

  • Never push against the keys.

  • This rod should be about in the middle of this key.

  • Again, everyone is different so you might

  • have to adjust for your hands to be comfortable,

  • but for now, start with it lined up to the middle.

  • To take the flute apart,

  • follow the same process in reverse.

  • Remember, never pull or push against the keys.

  • Make sure you clean your flute out every time you play it.

  • Take a cleaning cloth and thread it

  • into the cleaning rod that came with your flute.

  • Cover the end of the rod and run it through the body

  • and footjoint once or twice.

  • Don't forget to swab out the headjoint.

  • You can buy a cleaning cloth made especially

  • for swabbing out your flute or you can make one,

  • but make sure the material you use isn't too thick

  • and won't shred inside the flute.

  • Never use materials like felt or paper towels

  • because they'll come apart.

  • Also, never wet your instrument.

  • It's a good idea to carefully wipe down the outside

  • of your flute, especially the lip plate.

  • You can use the same cloth you used for the inside,

  • or you can get one made for polishing.

  • Just don't use a polishing cloth inside your flute.

  • If you use this kind, don't leave it in your instrument

  • because it can dry the pads out.

  • Also, don't store your cleaning cloths inside your case.

  • If your case or bag doesn't have a pocket,

  • try tying the cloth to the handle.

  • The flute is a delicate instrument

  • and needs to be treated with care.

  • Wash your hands before playing when possible,

  • and don't eat or drink right before you play!

  • If you just ate and can't brush your teeth before playing,

  • at least rinse your mouth out with water.

  • There are a few other things you should keep in mind.

  • NEVER leave your flute on a music stand.

  • The stand could tip or be knocked over.

  • When you set your flute down, always place it down gently,

  • with the keys facing up,

  • or put it on a flute stand.

  • And my personal pet peeve,

  • don't roll your flute on your lap!

  • All of these things can damage your flute.

  • If something does happen to your instrument,

  • don't try to fix it yourself.

  • Show your band director or private teacher,

  • or take it to a qualified repair person.

  • Good posture and correct hand position

  • are important not only to play well,

  • but also to prevent pain and injury.

  • There are three main points of contact

  • when you hold your flute:

  • your left hand index finger,

  • your chin, and your right thumb.

  • Always keep your left hand index finger in contact

  • with the flute.

  • For correct right hand position, hang your right arm

  • loosely at your side and notice your thumb position.

  • Now place the flute in your hand!

  • Your fingers should be slightly curved

  • and the pads of your fingertips should always stay close

  • to the keys.

  • Don't let your fingers turn to the side and rest

  • on your flute.

  • Your right pinky rests on this key for balance,

  • but don't squeeze.

  • When you're ready to play,

  • don't move your head to the flute;

  • bring the flute to you.

  • There should be a slight bend in your left wrist,

  • but not too much.

  • Placing either elbow too high or too low

  • can place stress on the wrist or back.

  • Try to stay as relaxed as possible.

  • Stand or sit at about a 45 degree angle

  • to the right of the music stand,

  • then turn your upper body to face the stand.

  • The important thing is that your right elbow is

  • not behind your body,

  • preventing any twisting of the back.

  • If you are in an ensemble, try to angle your chair so

  • you're not running into the person next to you.

  • Never rest your elbow on the chair,

  • or your chin on your shoulder.

  • Proper posture and hand position are two important

  • building blocks in your development as a flutist.

  • Tension impedes good technique

  • and leads to injuries down the road.

  • If your fingers are free and relaxed

  • and you have good posture and hand position,

  • faster dexterity and technique will come more easily.

  • Let's discuss some basic skills:

  • tone production, breathing, pitch, articulation,

  • and finger dexterity.

  • Practicing fundamentals properly

  • and often is the key to improvement,

  • and a good work ethic is crucial

  • in the early stages of flute playing.

  • Tone production can be one of the most difficult

  • and frustrating issues for young flutists.

  • Many factors contribute to this problem.

  • In this section, we'll explore these issues

  • and how they affect our ability to create the tone we want.

  • Start building your tone concept by listening

  • to recordings of professional players.

  • Find one you like and listen to it often.

  • Over time, you'll learn to mimic that tone.

  • Combine that with an understanding

  • of the technical aspects of tone production,

  • and you will emulate your ideal sound more and more.

  • Here's an example of a beautiful, expressive tone

  • in Reinecke's Undine Sonata.

  • [Music]

  • [Music]

  • Now let's talk about some more technical issues

  • related to tone production.

  • Once you're able to produce a sound on the flute,

  • the most important aspect of your tone

  • will be good breath support.

  • Take a proper breath and say "HA" rather forcefully.

  • You should notice your abdominal muscles engage.

  • These abdominals and the surrounding muscles

  • are the source of good breath support.

  • If you don't feel your core move,

  • you probably aren't using enough breath support.

  • Now pretend your air stream is a laser beam

  • pointed at the wall in front of you.

  • Emulating this idea will help you produce a stronger sound.

  • Without sufficient breath support,

  • the resulting sound will be droopy and flat in pitch.

  • When a teacher tells you to project more,

  • this might be the problem they're trying to correct.

  • Projection means to play out to other people,

  • the people in your audience.

  • When you practice, imagine you're in a concert hall

  • with an audience, and project your sound out to them.

  • Breath support is the key to good projection.

  • But a well supported tone can still have problems.

  • Think about your embouchure and general sound quality.

  • Let's talk about some of the common tone problems

  • and how to fix them.

  • While a droopy tone is weak and unsupported,

  • a pinched tone is not caused by lack of breath support,

  • but by improper head-joint position or excess tension

  • in the embouchure and throat.

  • Another possible cause of a pinched tone is rolling

  • the head-joint in too much toward the lips, like this.

  • That changes the angle of the air stream

  • as it hits the back wall of the head joint.

  • The head joint has to be rolled out sufficiently

  • to allow the air to hit at the proper angle.

  • Listen to my sound change as I roll the embouchure hole out.

  • [Music]

  • As you rolled out, the sound opened up.

  • It also went up in pitch.

  • Demonstrate what happens if you roll out too far.

  • [Music]

  • "Did you hear the tone become fuzzy? "

  • I did.

  • This open, fuzzy tone happens when the angle

  • of the air stream against the back wall becomes too wide,

  • or when the lips are too loose

  • and the air is not focused enough.

  • Right, we need to make sure the aperture,

  • which is the opening between your lips,

  • is not too big or too small.

  • I also often hear flutists play with a very loud

  • and rough tone, like this.

  • [Music]

  • To correct this, just relax your airstream a bit

  • and don't blow so hard,

  • or relax your lips just a bit

  • to compensate for the extra air.

  • You have to learn to adjust the embouchure

  • to achieve the sound you want.

  • I like to use the garden hose analogy.

  • If you put your thumb over the end of the hose,

  • you emulate the flute embouchure and aperture.

  • When you try to spray the water into a bucket a few feet away,

  • your thumb will control the speed of the water.

  • I think that's a great analogy.

  • My airstream is the water coming out of the hose,

  • and I can control its speed and direction

  • with my embouchure.

  • This embouchure flexibility is crucial

  • to adjusting your sound and producing a good tone

  • at any dynamic level or register.

  • To try this out, play a slur between a low G

  • to the G an octave above.

  • Notice as I move my lips forward the aperture is smaller,

  • like when we covered the end of the garden hose.

  • [Music]

  • The embouchure should be free to move back and forth.

  • Everyone makes adjustments differently,

  • look at these five different examples of an octave slur.

  • [Music]

  • [Music]

  • [Music]

  • [Music]

  • [Music]

  • To produce high notes,

  • we generally need a faster air stream

  • with a slight upward angle and want our lips

  • in a more forward position to accomplish this.

  • For lower notes, we want a slower

  • air stream angled downward.

  • You should avoid changing the angle of the air stream

  • with only the jaw.

  • This lip movement also helps with diminuendos.

  • A common problem with diminuendos is the tendency

  • to go flat as you get softer.

  • Pushing your lips forward and angling the air up

  • as you get softer will help you maintain the pitch.

  • Practicing tone is very important.

  • An exercise we call long tones is an essential part

  • of developing a good tone.

  • Long tones are simply long held notes

  • with an emphasis on the quality of your tone.

  • Make them a fundamental part of your practice routine

  • and remember to experiment with the concepts

  • we've presented to find out what works for you.

  • As always, flexibility is crucial to good tone.

  • The ability to take a full breath in a short amount

  • of time is a valuable skill for flutists,

  • because we often play for extended periods of time

  • without rest.

  • Try this simple exercise to learn

  • how to breathe more efficiently.

  • First, set your metronome to 80 beats per minute.

  • Inhale for eight beats, set your mouth in a flute embouchure,

  • then exhale for eight beats.

  • Next, inhale for seven beats,

  • and exhale for eight beats.

  • Keep subtracting a beat from the inhale until finally,

  • you take in one big breath over one beat,

  • and exhale it over eight beats.

  • Breathe from low in your core, not high in your chest.

  • Also, a common mistake is to let most of the air out

  • within the first couple of beats.

  • Pace your breath as evenly as possible over the eight beats,

  • you're learning to conserve your air.

  • You can modify the exercise

  • depending on skill level.

  • For beginners, maybe start with a four count exercise

  • instead of eight.

  • For advanced players looking for a reminder

  • on efficient breathing or a good warm up exercise,

  • try doing it in twelve or more counts.

  • Once you feel like you're taking full breaths,

  • you can continue increasing your air capacity and stamina.

  • Take your flute, start with your metronome set

  • to 60 beats per minute and try this exercise.

  • Play full volume, without vibrato

  • and expend all of your air.

  • Breathe slowly and deeply over four beats, and repeat.

  • [Music]

  • The goal is to use up all of your air

  • but not until the very end.

  • If you run out of air too soon, set your metronome faster.

  • As your air capacity increases,

  • set your metronome progressively slower.

  • When you find a challenging metronome setting,

  • continue all the way down the scale chromatically.

  • [Music]

  • If you need more of a challenge,

  • try playing chromatically UP

  • to the top of your range,

  • or stringing three whole notes together.

  • It's normal to feel lightheaded at first,

  • so take breaks when you need to.

  • Practicing exercises like this one

  • will help you play long phrases,

  • while still keeping control of your airstream.

  • Listen to the way Staff Sgt. Owen

  • plays a long, beautiful phrase

  • without sacrificing tone quality.

  • [Music]

  • Planning your breaths improves efficiency as well.

  • Don't wait until you run out of air to take a breath.

  • Look through your music and mark good places

  • to breathe so you don't run out of air at inconvenient times.

  • If you have enough time,

  • breathe early so you can prepare your embouchure.

  • Just like other aspects of playing the flute,

  • it takes practice to play in tune.

  • The great thing about this skill

  • is that you can work on it away from the instrument.

  • Simply taking time everyday to listen to music

  • is a great way to train your ears.

  • Listening should be fun.

  • I like to listen to music while I'm driving to work,

  • exercising, or cooking dinner.

  • Listen to different styles, including flute repertoire

  • and other Classical music,

  • to have a basis for comparison with your own playing.

  • Another great way to improve intonation

  • is by using a tuner.

  • An inexpensive tuner will last for years

  • and will help you keep your intonation in check

  • when you're practicing.

  • The tuner serves as a visual aid.

  • Eventually you'll be able to tell

  • on your own whether you are Flat.

  • [Music]

  • Sharp.

  • [Music]

  • Or in tune.

  • [Music]

  • Let's talk about how to adjust when you're out of tune.

  • When you're flat, pushing in the headjoint

  • shortens your instrument and raises the pitch.

  • When you're sharp, pulling it out lengthens your flute

  • and lowers the pitch.

  • Here's a trick to help you remember which way to go:

  • If you make your instrument bigger,

  • like a tuba, it sounds lower.

  • If you make it smaller, like a piccolo, it sounds higher.

  • Aside from moving your headjoint,

  • you can also adjust the pitch by changing the angle

  • and speed of your airstream.

  • Try not to move your head;

  • do most of the angling with your embouchure.

  • Also, resist the urge to roll in or out to an extreme.

  • A little is OK, but again, most of the pitch adjustments

  • should be made using your airstream.

  • When you're familiar with the tuner, you may notice

  • that some pitches tend to go generally sharp or flat.

  • For example, the high register tends to go sharp,

  • and the low register tends to go flat.

  • Notes played loudly are often sharp,

  • while notes played softly can be flat.

  • These are common pitch issues,

  • but every flutist is different.

  • Take note of your own personal tendencies.

  • Each instrument in an ensemble also has its own tendencies,

  • and they don't always match the flutes'.

  • Knowing this can prevent pitch clashes with other sections.

  • In any ensemble, tuning is a joint effort.

  • Remember, the best steps to good intonation

  • are listening to music

  • and forming your own concept of sound.

  • That, in addition to practicing

  • and knowing your pitch tendencies,

  • is a recipe for excellent intonation.

  • In this section, we'll talk about basic articulation,

  • which is how to start the sound on the flute.

  • When producing a tone on the flute,

  • we almost always start with the tongue to give the sound

  • a clear and clean start.

  • Without the tongue, the beginning of the sound

  • would be fuzzy and we wouldn't be able

  • to play notes very fast.

  • How does this sound to you?

  • [Music]

  • You probably thought that sounded kind of strange.

  • To achieve clarity, flutists begin the sound

  • with too, tah, doo, or dah, just behind the teeth

  • as if you were saying "tea for two" or "daily dollar."

  • This type of articulation is called single tonguing.

  • Choose which syllable works best for you.

  • Be sure your teeth do not touch each other.

  • As you end the sound, release the air

  • without stopping it in the throat or with the tongue.

  • You shouldn't say "DUDE".

  • That's very important.

  • To make sure you aren't stopping the sound

  • with the tongue or the throat, try this.

  • Play a note for a few seconds.

  • When you stop the sound,

  • open your jaw a bit and continue

  • to blow a little bit of warm air, like this.

  • [Music]

  • If you can't blow any air at the end of the note,

  • you might be stopping the sound in the throat.

  • You should feel as if you're fogging a mirror.

  • It's also important to have good breath support

  • under your articulation.

  • Try saying "Ha" four times in a row, with your hands

  • on your abdomen.

  • Ha, Ha, Ha, Ha.

  • You should feel your stomach muscles move a bit.

  • Now try saying "Too" or "Tah" four times in a row.

  • tah, tah, tah, tah.

  • You should feel your stomach muscles move

  • just like when you said "Ha."

  • Try it on your flute.

  • Play four quarter notes using the tongue.

  • [Music]

  • You probably noticed that the beginning of each note

  • is very clear, not fuzzy.

  • We use the tongue to start notes almost all the time.

  • We can play short, or staccato, notes...

  • [Music]

  • or we can play them connected, or legato.

  • [Music]

  • Notice that there's no need to breathe

  • between every note.

  • Using the tongue properly will allow you to play many notes

  • in one breath at whatever speed you'd like.

  • Here's a piece that uses legato tonguing.

  • [Music]

  • Up to now, we've been talking about tonguing

  • every note, but there are times when we need to slur the notes,

  • or connect them without using the tongue.

  • Start the first note with the tongue and blow

  • through the rest of them

  • without using the tongue at all, like this.

  • [Music]

  • With a few exceptions,

  • you should always start the sound with the tongue,

  • even when restarting after a breath.

  • To practice tonguing,

  • beginners should try playing a note

  • using different rhythmic patterns

  • with the tongue, like this.

  • [Music]

  • You can even play fun rhythmic patterns

  • on each note of your music, like this.

  • [Music]

  • Once you become comfortable with that,

  • try changing notes while tonguing every note, like this.

  • [Music]

  • Then try slurring two-note or three-note patterns.

  • [Music]

  • And the most important thing is the more you practice,

  • the better you'll get

  • and the more fun you'll have.

  • [Music]

  • The flute is often featured in fast,

  • virtuosic passages, in everything

  • from orchestral masterworks to solo pieces.

  • Though the flute literature is full of technical challenges,

  • it can be rewarding to master them.

  • In this section, we're going to share some tips

  • for improving your finger dexterity

  • so you can confidently tackle those difficult spots.

  • One of the most effective ways to improve your technique

  • is to practice hard sections slowly.

  • Many flutists, new and experienced, build bad habits

  • into their music by practicing passages too fast.

  • It's much harder to unlearn a bad habit

  • than it is to properly learn a new one,

  • so save yourself a lot of time and energy by practicing slowly.

  • Let's use the flute solo from Prokofiev's Peter and the Wolf

  • as an example.

  • This excerpt is notoriously fast

  • and difficult for flutists.

  • Listen to Sarah slow it down to a good practice tempo.

  • Once you've mastered it at a moderate tempo,

  • you can gradually increase the speed,

  • using your metronome as a gauge if you like.

  • [Music]

  • [Music]

  • As you are working on your technique,

  • remember to keep proper hand position, posture,

  • and finger placement over the keys.

  • Another way to improve finger agility

  • is to practice your scales and arpeggios,

  • the building blocks of Western music.

  • Practicing these fundamentals will help you

  • recognize patterns and rely on your muscle memory,

  • which can save a lot of time

  • while learning a new piece.

  • One common issue that slows down our technique

  • is unevenness between notes.

  • This can be caused by poor posture or hand position,

  • going from one finger to many fingers,

  • or slightly shifting how the flute is balanced.

  • C to D in the staff is often uneven.

  • While looking in a mirror, alternate between C and D

  • very slowly, paying close attention to how close

  • or far your fingers are from the keys.

  • Make sure your fingers remain close to the keys,

  • are relaxed, and travel the same distance.

  • Now go ahead and gradually speed up your exercise.

  • We've explained the benefit of practicing slowly,

  • now let's look at a different method

  • involving rhythmic variations.

  • We're going to apply different rhythmic patterns

  • to the music to help learn a difficult passage.

  • Let's return to the solo from Peter and the Wolf.

  • Here are a few examples of what you can do.

  • The original passage is shown at the top of the screen.

  • In variation one,

  • you see the original notes from the passage,

  • but the rhythms are written out differently.

  • [Music]

  • Here are some other variations.

  • [Music]

  • Changing the emphasis helps train your fingers.

  • Once you've played through all the different variations,

  • going back to the original will feel

  • a little easier.

  • Did you notice the arpeggios in that excerpt?

  • If you have practiced your scales, arpeggios,

  • and technical exercises, then sight-reading

  • and learning difficult passages like this

  • will come more naturally.

  • The solo from Peter and the Wolf is just one example

  • of how virtuosic the flute repertoire can be.

  • It's fast and difficult, but not impossible

  • if you can apply the right methods in preparing it.

  • Set yourself up for great technique by solidifying

  • your fundamentals, practicing efficiently,

  • and remembering not to rush the learning process.

  • Enjoy working through the challenges

  • of the flute repertoire!

  • [Music]

  • Practicing is a necessary part of playing an instrument.

  • If you want to improve, you'll need to prioritize

  • and set up an efficient routine.

  • Let's talk about your practice session.

  • When you're in the intermediate stages

  • of flute playing, the amount of information

  • you're taking in can seem overwhelming.

  • You've got your technique to work on, scales,

  • band music, solo repertoire - with so much to do,

  • it can be helpful to write down and organize your goals

  • for the day.

  • That way, if you find yourself losing focus,

  • you have something to keep you on track.

  • Here is one example of an organized practice session.

  • This session has been broken down into 5 parts:

  • long tones, scales, an articulation etude,

  • solo repertoire, and ensemble music.

  • You can also set goals

  • for how long you'd like to work on each part.

  • What takes one person 20 minutes to learn

  • might take someone else an hour.

  • I like to write down specific passages that need work,

  • in case I forget about them along the way.

  • This can be helpful if you find your mind wandering.

  • For example, if there are eight bars in your solo piece

  • that tend to sound sloppy, start with that trouble area.

  • A common question students have is,

  • how long should I be practicing every day?

  • Beginners might start with a few minutes a day;

  • serious students might practice for hours.

  • There were times in college

  • when I practiced 4 to 5 hours a day.

  • Whatever amount you choose to practice,

  • remember that establishing a daily routine is important

  • and it's up to you to decide how fast you'd like to improve.

  • When an articulated passage is too fast

  • to single tongue, you'll have to use multiple tonguing.

  • There are two kinds:

  • double-tonguing and triple-tonguing.

  • Double tonguing uses a combination

  • front and back stroke of the tongue,

  • allowing you to articulate at a much faster pace.

  • The air is interrupted once at the front of the mouth

  • with the syllable "tah," and then again

  • at the back of the mouth with "kah."

  • The result is "tah kah tah kah."

  • There are several different syllables

  • you can use when double tonguing, and the option

  • you choose may vary depending on your preference

  • or what repertoire you are playing.

  • Here is an example of how to apply double tonguing

  • to a group of fast moving notes.

  • Once you've grasped the basic concept of double tonguing,

  • it's time to start refining your technique.

  • Because the "Kah" lies farther back on your tongue,

  • it can feel clumsy and is difficult to get

  • as clear as the front stroke.

  • The goal is to not let the listener know

  • you're double tonguing at all.

  • Here is a good exercise to strengthen the back stroke.

  • First, play a repeated note using "tah."

  • [Music]

  • Now play the same note using "kah".

  • [Music]

  • Make sure your "kahs" sound just as clear

  • and even as your "tahs".

  • Once your "kahs" sound good, try alternating "tah" and "kah,"

  • again making sure there is no difference

  • in quality between the two.

  • [Music]

  • Good airspeed and support are important to maintain

  • clarity on the back syllable since it is inherently weaker.

  • Developing this skill will take a lot of practice and patience,

  • but once you're comfortable with it,

  • you'll be able to play faster articulated passages

  • with ease and virtuosity.

  • [Music]

  • Triple tonguing is used when there are fast moving triplets,

  • or notes in groups of three.

  • The syllables used are still "tah" and "kah,"

  • but they're organized a little differently.

  • For triple tonguing on the flute,

  • they are most commonly organized as:

  • Tah Kah Tah, with the Kah in the middle.

  • Let's take a look at Mendelssohn's Italian Symphony.

  • Triple tonguing is appropriate here

  • because of the triplet figures and the tempo,

  • which is too fast to single tongue.

  • From a musical standpoint,

  • there are certain instances where rearranging

  • these syllables is preferable to suit your needs.

  • For example, if you have a long string of triplets,

  • you might still use a double tonguing pattern

  • so there aren't two tah's in a row.

  • Another option is to put the two front strokes together

  • at the beginning of the group of three.

  • This can be useful in passages that need emphasis

  • on the down beat.

  • Play around with what works best for you.

  • Practicing these techniques will help you

  • tackle a wider variety of repertoire.

  • [Music]

  • If you are seeking more clarity in your articulation,

  • you might want to experiment

  • with forward tonguing, sometimes referred to

  • as French tonguing.

  • The goal of any articulation is clarity,

  • and the source of articulation is language.

  • In English, 'too' and 'doo' are hard sounds,

  • with the tongue further back behind your teeth

  • at the roof of your mouth.

  • In the French language, 'tu' is said with the tongue

  • touching the back of your upper teeth

  • and your upper lip simultaneously.

  • To understand the concept, try spitting rice grains

  • off the tip of your tongue.

  • The very tip of your tongue blocks the aperture opening,

  • and removing it releases the air.

  • With the tongue closer to the lip and the flute,

  • there is less chance for delay in the sound.

  • You may be wondering why you should try this.

  • Well, why color with only 32 crayons when you could use 64?

  • Even if you are not interested in using forward tonguing

  • all the time, it has its uses.

  • It can give a pretty impressive clear pop

  • to the beginning of notes when needed,

  • and because the tongue is farther forward,

  • there is more space in your mouth for resonant sound.

  • [Music]

  • An expressive player has a wide range of tools

  • to choose from when making music.

  • Vibrato, tone colors and dynamics all help contribute

  • to your final musical product.

  • Vibrato is a sound fluctuation produced

  • by pulses in the airstream.

  • It is an expressive tool that gives our sound forward motion.

  • You've probably heard flutists use vibrato

  • and may have already tried to mimic them

  • through your own playing.

  • Vibrato should be integrated into the sound,

  • rather than on top of or separated from it.

  • Before picking up the flute,

  • try saying the word "ha" in slow pulses.

  • Ha, ha, ha.

  • Your throat should be open and relaxed

  • to allow air to flow freely, as if you were yawning.

  • Let your air support come from low in your core,

  • as opposed to high in your chest.

  • Try saying ha again,

  • but this time using just the breath,

  • without vocalization.

  • Ha, ha, ha.

  • It's time to apply this concept to our own flute playing.

  • For this exercise, you'll need a metronome

  • set to 80 beats per minute.

  • Choose a note that is comfortable and easy for you.

  • Play a whole note with four quarter note pulses,

  • rest and repeat.

  • [Music]

  • [Music]

  • Keep in mind all the key points we discussed earlier:

  • an open, relaxed airway, good breath support,

  • maintaining your normal embouchure,

  • and a vibrato that's produced by the air, not the lips or voice.

  • Once you've repeated the quarter note pulses

  • enough times to feel comfortable,

  • move on to eighth note pulses.

  • Play four beats of eighth notes, rest and repeat.

  • [Music]

  • [Music]

  • Now move on to playing triplet pulses on each beat.

  • [Music]

  • [Music]

  • And finally, sixteenth note pulses.

  • [Music]

  • [Music]

  • After exploring a wide range of vibrato speeds,

  • you'll find that the speed you choose will depend

  • on the character of the music,

  • and often you'll weave in and out of different speeds

  • throughout a piece.

  • As a musician, you'll make the artistic decision

  • of choosing when and when not to use vibrato.

  • Vibrato is an expressive tool, and it doesn't have to occur

  • on every note we play.

  • Over time and with practice,

  • vibrato will feel much more natural than the metronomic way

  • we first learned it.

  • Listen to professional recordings of flutists

  • and other musicians you admire,

  • and draw inspiration from what you hear.

  • [Music]

  • [Music]

  • [Music]

  • To me, one of the greatest things the flute can do

  • is produce a wide array of tone colors.

  • As flutists, we can act as chameleons,

  • adjusting the quality of our sound

  • and the timbre of the instrument

  • to fit the mood of a particular piece.

  • Like a painter, we have an entire palette of colors

  • to choose from.

  • I love when I can really dig into the low register

  • and get that rich, deep, dark tone color.

  • A perfect example of that occurs in Borne's "Carmen Fantasy."

  • The well known British flutist Trevor Wye

  • associates this quality of sound with the color purple.

  • [Music]

  • [Music]

  • There's another beautiful color that I really enjoy.

  • The flute can produce a hollow, pale,

  • and mysterious sound.

  • Even on a modern metal instrument,

  • it's possible to imitate the sound of a wooden flute.

  • In Saint-Saens' famous orchestral work,

  • "Carnival of the Animals," the flute uses this hollow color

  • in the movement, "Aquarium".

  • By producing a certain tone color,

  • you can narrate the music by helping the listener imagine

  • what the composer might have envisioned

  • when he wrote this piece:

  • a dim underwater scene with fish slowly gliding by.

  • [Music]

  • [Music]

  • Dynamic changes help us express different moods,

  • colors and textures of sound.

  • We apply it to music similarly to the way we do to speech,

  • creating contrast within our phrases

  • to keep the listener interested.

  • To develop great contrasts,

  • take some time every day to practice playing loud and soft.

  • Let's work on a big and powerful forte.

  • [Music]

  • [Music]

  • The louder you play, the more air you need -

  • playing forte requires a faster and larger airstream.

  • Use your breath efficiently, and take more breaths

  • as needed to compensate for the extra energy you're using.

  • Practicing tapers and diminuendos will help develop

  • your embouchure for sustained pianissimo playing.

  • [Music]

  • Start with a comfortably full sound

  • and begin a diminuendo,

  • making sure to keep the same quality of tone

  • throughout the note as it becomes very soft.

  • Your aperture will get smaller

  • and your airspeed will increase.

  • This coordination helps ensure that the note doesn't crack

  • or fizzle out too soon.

  • Good support is crucial here.

  • There are many moments in the flute repertoire

  • that call on the performer to combine vibrato, colors,

  • and dynamics to shape a phrase.

  • The 4th movement solo from Brahms' First Symphony

  • requires the flutist to soar above the orchestra

  • and project out into the audience.

  • Use a slightly more pronounced vibrato

  • combined with a full solo sound

  • to help the expansiveness of this moment.

  • [Music]

  • [Music]

  • Always be sure the vibrato is staying within your sound

  • as we practiced earlier.

  • Too fast or too slow can be musically unappealing.

  • Debussy's Prelude to the Afternoon of a Faun

  • requires a very slight amount of vibrato,

  • shimmery and not too slow.

  • Combine your soft, ethereal tone color

  • with your subtle vibrato,

  • and you can create a beautiful tranquil mood.

  • [Music]

  • A few notes on the flute can be fingered multiple ways,

  • and depending on the situation,

  • one fingering might be better than another.

  • We can also use harmonic fingerings to make life easier

  • or close extra keys to improve intonation.

  • The most common alternate fingerings

  • in the 3rd octave involve E and F#.

  • These notes are often a bit sharp and easy to crack.

  • Simple modifications can lower the pitch

  • and make them more stable,

  • especially in fortissimo passages.

  • For E, lift the pinkie in the right hand.

  • For F#, instead of the 3rd finger,

  • use the second finger in the right hand.

  • To help control pitch on the 3rd octave Ab,

  • try adding the second and third fingers in the right hand.

  • Also, if you have a B foot instrument,

  • you can lower your high C by adding right hand fingers

  • with your pinkie on the gizmo key.

  • The standard fingering for Bb is the 1&1 Bb,

  • played with the 1st finger in both hands.

  • But there are two other options.

  • The Thumb Bb allows you to play Bb

  • without using the right hand, avoiding excess finger movement.

  • It's usually used when Bb is in the key signature,

  • and the thumb Bb key can be left down

  • for almost all other notes except for B-natural, C,

  • or high F# and high B-natural.

  • The third option, the lever,

  • can be a good choice for chromatic passages

  • to help avoid cumbersome thumb sliding.

  • Harmonics are considered an extended technique,

  • but can also be used as alternate fingerings.

  • You can simplify a passage containing third octave notes

  • using the fingerings for lower notes

  • and over-blowing to produce the harmonic.

  • Listen as a 3rd octave scale is played

  • using both regular fingerings and harmonics.

  • [Music]

  • Consider this passage from Prokofiev's Classical Symphony,

  • which is quite difficult without alternate fingerings.

  • Listen as it's performed with alternate fingerings.

  • [Music]

  • While you should not sustain a long note using a harmonic

  • unless expressly called for in the music,

  • alternate and harmonic fingerings

  • can help you master difficult technical passages

  • with minimal loss of tone quality.

  • These are only a few of the many possible alternate fingerings,

  • so research other options as your playing develops.

  • The flute is one of the most versatile instruments,

  • and modern composers are still finding ways

  • to push the envelope.

  • Extended techniques demand a flexibility and control

  • that will benefit your standard flute playing,

  • and they sound pretty cool.

  • Let's look at some of the extended techniques

  • you might come across in modern works.

  • The flutter tongue articulation can be achieved

  • through two methods.

  • The first requires the player to make a Spanish erre,

  • or double r, sound while playing.

  • [Music]

  • [Music]

  • If you already know how to roll your r's,

  • that kind of flutter tonguing should come easily to you.

  • If you can't, don't worry.

  • There's another flutter tonguing method

  • that's also acceptable.

  • Using the back of your throat, make a rapid growl

  • as if gargling water.

  • [Gargling]

  • [Music]

  • To sing while playing, keep your embouchure

  • in its normal position and sing a pitch

  • while maintaining constant airflow

  • so the flute still sounds.

  • Try this with a scale.

  • [Music]

  • Singing while playing is a tricky technique to get used to.

  • One way to practice it is by alternating playing

  • and singing the same pitch.

  • [Music]

  • Then sustain a pitch,

  • gradually bringing your voice in and out.

  • [Music and singing]

  • Now you are ready to move on to independent pitches.

  • Try not to sing too loudly

  • or you could strain your vocal chords.

  • [Music]

  • Harmonics are the higher frequencies attained

  • by fingering the lower fundamental note

  • and then adjusting the embouchure and airspeed

  • to produce pitches in that note's harmonic series.

  • Composers ask for harmonics

  • because of their unique sound quality,

  • but they also make a great exercise

  • for embouchure flexibility and control.

  • [Music]

  • Composers sometimes write pitches

  • outside the standard range of the flute.

  • You'll need to use an especially fast airstream

  • and strong breath support to get these notes to speak.

  • Find an advanced fingering chart

  • to learn how to finger these pitches.

  • The fourth octave includes C#, D, D#, E, and F.

  • [Music]

  • The flute is capable of playing two or more pitches

  • at the same time, a technique called multiphonics.

  • The composer usually provides the necessary fingerings.

  • In "The Great Train Race" by Ian Clarke,

  • multiphonics are used to imitate a train whistle.

  • To play two pitches at once,

  • you have to find an embouchure that can produce both.

  • Multiphonics help develop flexibility and control,

  • both worthwhile skills.

  • For more information, a great resource is

  • "The Other Flute", by Robert Dick.

  • [Music]

  • Intentionally raising or lowering a note

  • is called pitch bending.

  • It's done by rolling the flute in to lower the pitch,

  • or outward to raise it.

  • You can also manipulate the embouchure to change the pitch.

  • This is not the same as simply tuning.

  • [Music]

  • Additionally, composers sometimes specify a fingering

  • that will create a pitch bending effect.

  • For this method, you will need an open-hole flute.

  • [Music]

  • To achieve a key click, or key slap, simply choose a note,

  • finger it, and slap one or more of the keys necessary

  • to finger the note.

  • This technique does not always require

  • blowing into the headjoint.

  • For example, finger a G and slap the G Key,

  • your left hand ring finger.

  • [Music]

  • You'll hear the pitch resonate through the flute

  • when you slap that key.

  • [Music]

  • Robert Dick describes Jet Whistles as breathy,

  • semi-pitched resonances of the flute,

  • varying from short, violent 'shrieks'

  • to soft, sustained sonorities.

  • They are produced by placing the lips

  • over almost the entire embouchure plate,

  • pressing the lips so that no air escapes,

  • and blowing a forceful blast of air directly into the flute.

  • The angle of your air into the flute

  • can affect how high you can get yours to shriek.

  • [Shrieking]

  • Quarter tones are pitches

  • halfway between the notes of a chromatic scale,

  • and are produced

  • with special fingerings.

  • On an open hole flute,

  • many of the pitches

  • require the key to be closed

  • while the center hole

  • is left uncovered.

  • Most composers include fingering charts

  • for pieces that involve quarter tones.

  • [Music]

  • The modern flute is capable a of vast amount

  • of extended techniques.

  • Enjoy the contemporary repertoire unique to the flute.

  • Learning new techniques on your instrument

  • is like adding tools to your toolbox.

  • Exploring extended techniques improves your standard playing

  • by making you a more flexible

  • and diverse musician.

  • [Music]

  • Playing in an ensemble is all about teamwork.

  • In order for the team to succeed, everyone involved

  • needs to understand how to play their assigned positions.

  • Think of your ensemble as a complex machine

  • made up of many intricate parts.

  • The machine won't operate correctly

  • if one piece is faulty.

  • When playing principal flute or first chair,

  • you are the leader of the flute section.

  • You are the team captain,

  • and responsible for bringing your players together

  • towards a common goal.

  • Make stylistic decisions, such as designating note lengths

  • or where to take a breath in a phrase.

  • Address and correct issues within the section,

  • such as intonation or articulation.

  • Take time to discuss the music with other principal players

  • in the ensemble.

  • Typically, the principal flutist communicates ideas

  • and other concerns to the conductor

  • on behalf of the section.

  • [Music]

  • [Music]

  • A principal flutist must always count rests

  • and be ready for entrances.

  • These are things every player should do,

  • but the principal has the additional responsibility

  • of bringing in the section.

  • Avoid being bossy.

  • Respect your colleagues and they will reciprocate.

  • You're a leader, not a dictator.

  • Solo lines should always be played confidently.

  • Even when marked at a low dynamic level,

  • such as piano or pianissimo,

  • a solo line has to reach the audience.

  • [Music]

  • When you are in a supporting position

  • as a section player, remember every member of an ensemble

  • has a distinct job.

  • A section player needs to have a great amount of flexibility.

  • Listen to the principal for sound, pitch, vibrato,

  • and phrasing.

  • Be supportive, and don't be afraid to play out

  • when you have the melody.

  • Feel free to suggest ideas about the music

  • to the principal player.

  • A good section works together to achieve a common goal.

  • Throughout our years of playing,

  • we've all learned the do's and don'ts of ensemble playing.

  • What advice would you tell your students?

  • Come to rehearsal prepared.

  • Assuming the music was given to you beforehand,

  • you should already have learned your part

  • in your personal practice time.

  • Educate yourself by listening

  • to a professional recording of the piece

  • your group will be playing.

  • The purpose of an ensemble rehearsal

  • is to put the parts together,

  • not to learn the parts together.

  • I would say to avoid playing someone else's part

  • in front of them.

  • It makes it seem that you think you can play it better

  • than they can.

  • It's disrespectful

  • and it creates a competitive environment

  • between you and your colleagues.

  • Remember to be a good listener, and to work on blending.

  • It's easy to get stuck in your own bubble

  • and only focus on what you're doing

  • as opposed to everything that's going on around you.

  • Try to think of the big picture.

  • Don't address the whole section with instructions

  • if you are not in the principal seat.

  • This isn't your job, and you should refrain

  • from taking on a role that isn't assigned to you.

  • Sometimes we lead, sometimes we're supporting

  • and they're both really important jobs.

  • I always remind my students

  • that playing in a section is not a competition

  • of who can play the loudest.

  • Unless it's a solo, one flutist shouldn't stick out.

  • Learn how to become part of a unified flute sound.

  • Let's pick it up again.

  • How about measure 41?

  • [Music]

  • Choosing an instrument can be overwhelming.

  • Renting one until you are sure

  • you're going to stick with it is always a good idea,

  • but if you're ready to buy your own,

  • there are a few things to consider.

  • The first is the material.

  • Most student flutes are nickel silver

  • or silver-plated.

  • A step up is a solid silver instrument.

  • If a solid-silver flute is out of your price range,

  • a plated instrument with a solid silver headjoint

  • is a good compromise.

  • Another choice you will have to make

  • is between an offset G and an inline G.

  • Some players find that an offset G

  • allows for a more natural hand position.

  • Try both and see what's more comfortable for you.

  • A question I hear a lot is,

  • "What's the ideal age to start playing the flute?"

  • It's best to wait until the student's arms

  • are long enough to hold the flute

  • without straining the hands and wrists

  • and without holding the instrument

  • at an exaggerated angle.

  • There is an option for shorter students, a curved headjoint.

  • This type of headjoint shortens the length of the flute,

  • making it easier to reach.

  • It can create some other problems so it's a good idea

  • to consult a private teacher or band director

  • before choosing this option.

  • Many student flutes are Plateau, or closed-hole models.

  • Instruments geared towards more advanced students

  • are usually French style, or open-holed.

  • Closed holes are fine for a first flute,

  • but I usually recommend open-holed

  • if you are getting at least a silver-plated instrument.

  • You can always plug the holes until you get used to it.

  • A flute with a low B foot allows you to play one more note

  • than the standard C foot

  • and may make the high register a little easier.

  • It's not necessary,

  • but if an investment on a nicer instrument

  • is within your budget, it's worth having.

  • Another useful extra is the C# trill key,

  • which makes some fingerings easier.

  • Other options are the "Split E",

  • heavy or thin-wall flutes, or different types of metals,

  • such as gold or platinum.

  • These are a matter of personal preference,

  • so try several different instruments before you buy one.

  • There are a lot of good brands out there.

  • Ask your teacher or band director for a recommendation.

  • When choosing a piccolo, it's important to try

  • certain notes and pitch relationships.

  • Check the middle D against the octave above.

  • Likewise, check the lowest notes and the middle E

  • to be sure they aren't substantially flat.

  • The cork position can have an effect on this,

  • but these note relationships

  • will be better on a good instrument.

  • The high F# should respond well

  • both with and without the right pinky.

  • A very good piccolo will produce a high B with relative ease.

  • I say relative because it's a difficult note to produce,

  • but a good instrument will allow it to speak easier.

  • Anytime you're trying instruments,

  • be sure to play for a teacher, friend or colleague.

  • The piccolo is smaller than the flute

  • and it sounds an octave higher.

  • It's the highest voice in the ensemble

  • and is often used soloistically or to add color.

  • The mechanism and fingerings are the same -

  • it really is a 'petite flute' as the French call it.

  • Orchestral piccolos are made out of wood, with metal keys.

  • The wood allows the piccolo to blend more easily

  • with other woodwind instruments,

  • and gives a sweeter, more pleasing tone.

  • Some student models or marching instruments

  • are made out of metal or a composite plastic material.

  • This makes a brighter sound and is also more durable

  • in outdoor conditions.

  • The Db piccolo was frequently used

  • in band literature of the mid 20th century,

  • to facilitate faster technique in easier keys.

  • Here you can see the difference

  • in the Stars and Stripes piccolo solo.

  • [Music]

  • Before attempting the piccolo,

  • a flutist should have solid control of their third octave,

  • and a good understanding of breath support and airspeed.

  • Since the piccolo sounds an octave higher,

  • it makes sense to approach the piccolo

  • as a 4th octave extension of the flute.

  • Improper placement can cause inconsistent intonation,

  • so you might have to place your piccolo higher

  • on your lip.

  • Basic tone production on the piccolo

  • is the same as it is on the flute

  • but the aperture needs to be a little smaller.

  • Your embouchure should be firm to help control the airstream,

  • but squeezing the lips too much will sacrifice tone quality.

  • It can be tempting to use tension

  • to get the upper notes to speak,

  • but you'll get much better results

  • with good breath support, fast airspeed,

  • and a focused embouchure.

  • The low register should sound relaxed and full.

  • To project, you must be relaxed and let the sound resonate

  • in your mouth and chest.

  • Listen to this excerpt that highlights the color

  • of the piccolo's low register.

  • [Music]

  • The middle register often needs some finessing,

  • in particular the notes from E through G.

  • These notes have a tendency to crack,

  • and require accurate embouchure placement.

  • In the second movement of Borodin's Polovtsian Dances,

  • the piccolo has an exposed solo passage.

  • The line starts on a G above the staff -

  • a tricky entrance after the long rest leading up to it.

  • [Music]

  • Only careful individual practice in the middle register

  • will assure that you come in accurately

  • and confidently.

  • Many famous works, particularly marches,

  • keep the piccolo in the upper register

  • for an extended period of time.

  • When you have a solo like this, OWN IT!

  • The piccolo is one of the most exposed instruments

  • in the ensemble and will be heard no matter what,

  • so play with confidence.

  • Playing in this register for even a short time

  • can damage your hearing, so make sure you have a set of earplugs

  • to practice with.

  • We use specially designed musicians earplugs

  • that fit inside the ear canal.

  • But even basic foam earplugs are better than nothing.

  • Ask your teacher or band director for a recommendation.

  • [Music]

  • As with the flute, scales and arpeggios

  • are great daily exercises for the piccolo,

  • and will help with flexibility and good intonation.

  • Playing the piccolo in tune is particularly difficult.

  • Spend some quality time with a tuner

  • and play duets with a friend.

  • [Music]

  • [Music]

  • The most successful piccolo players

  • have alternate fingerings in their bag of tricks

  • to help with blending and pitch.

  • Many of these can be found online

  • with a quick internet search,

  • or you can also go to our website to find links

  • to additional resources for the piccolo.

  • We'd like to close this section with one final example

  • that shows that despite all the challenges,

  • the piccolo is worth all the time it takes.

  • [Music]

  • Thanks for watching "Flute Fundamentals"

  • by the United States Army Field Band flute section.

  • The five of us believe in life-long education,

  • always seeking improvement and keeping our eyes

  • and ears open for new knowledge and perspective

  • about our craft.

  • Whether you're the freshest of beginners

  • or an advanced player,

  • we recommend finding a private flute teacher to guide you.

  • Check out our website, ArmyFieldBand.com,

  • for additional educational programming and resources

  • like our instructional DVDs and reference recordings.

  • [Music]

Hi, I'm Sgt. 1st Class Sarah McIver.

Subtitles and vocabulary

Click the word to look it up Click the word to find further inforamtion about it