 The Fingering Forum
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Author: Ricktator
Date: 2004-07-05 21:01
Yes, I've been practicing, and the flute isn't quite as evil as it used to be. This is the next chapter in my story. If you're going to post a snobby reply for me posting something that is not in the form of a question, skip this post and go about your day. For the rest of you..
If you read my original post from back in June, you'll note that I was beginning an adventure to get something resembling flute and clarinet chops prior to a possible audition coming up late August/September. I may choose to embark on a cruise ship as a crew musician to save some money for a change.
I am coming along much quicker than I thought at this point. Being a saxophone veteran of many years, I've forgotten how rewarding it is to be on the low end of the learning curve. Every little improvement is quite exciting and I get a new vote of confidence every time I pick the little bugger up. I don't get that feeling with my primary horn anymore.
I'm still having embouchure questions but finally I can play for more than a minute at a time without having to lay my head on a pillow. Exciting!
I've read some of the recent posts and what struck me as contradictory was one person stating that a flautist should have a completely relaxed embouchure and somone posted back that the corners should be pulled back. I've tried this both ways and don't know quite which route to study. Is there a "standard" way of playing the flute? I believe in relaxed embouchures (you've got to see my lazy tenor embouchure!) but I thought the idea in the flute was to get the smallest, most focused blast of air you can get. Any tricks, tips or advice for me? I'd be more than grateful.
I'm off to a nice dinner now. I hope everyone had a lovely long weekend.
Hugs, kisses,
-Ricktator
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Author: Justin
Date: 2004-07-05 22:32
You have the opposite problem i do. I know flute and am learning sax. Anyways, the approach i use is to tighten the corners of my mouth, but kind of relax my lower lip. With the flute, however, you must rememeber that you still need a focused blast of air into the instrument. SO! Try and find your embouchure, one that works for you.
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Author: Amanda
Date: 2004-07-06 04:23
I suppose that *I'M* the one you referred to here as suggesting pulling the corners of your lips back.
First of all, I'm a music major at a pretty prestigious school, with an AMAZING flute professor. I'm not saying this to brag, but so you know where I'm coming from. I'm not someone who has just been playing for a month or two and doling out unsupported advice. This is what I've been taught, but there are many different styles of playing. This is what makes sense to me.
The way I see it, pulling back the corners creates a firm but flexible embouchure. You need an embouchure that is firm enough that you can control the amount and shape of air, but flexible enough that you can easily adjust for register changes and those wonderfully out-of-tune C#s. The flute is unlike most instruments in the fact that it doesn't provide external means of controling the air, as a brass mouth piece or double reed or even a single reed provides. We must control the air with our lips, and using a completely relaxed embouchure doesn't allow us to regulate this.
Now that I have explained my point of view, I want to reiterate that we all have different ideas on how to do things. I'm not saying that the way other people do things is wrong, but that this is a way that works for me, and I'm sure others have different methods that work for them.
Don't take anything on ANY forum TOO seriously. The only proof you have of anyone's ability on here is their word. Now, I'm not calling anyone a liar, and for all you know I could be a trumpet player. We're all here to help each other and share ideas, and I think this is a wonderful site, with very respectful and creative patrons. Do remember to keep an open mind and try more than one approach to a problem. If you have a major problem with your instrument, don't count out finding a professional in your area. Most musicians are more than willing to help one another.
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Author: Ricktator
Date: 2004-07-06 04:33
Mmm, yes, it was you!
Don't take my reference to you in a demeaning note, of course. I was simply attempting to locate what was "legit" and what was someone's tried-and-true approach. As a total flute newbie, I wanted to see what was the established approach to the embouchure--pulling the corners back or being totally relaxed--and what you stated in your post makes total and complete sense.
With that said, I'm curious as to what university you're attending. Just my probing mind of course, if you'll allow me that luxury.
You're right about the C#'s. My C#'s sound like puke. I mean that, too. That's the sound my vomit makes when I'm sick. It sounds just like the C# I'm currently getting. Any ideas on how to improve this attrocious sound, short of avoiding the note all together?
I'm all about sharing ideas. I'll dish what I've got while I'm here. I know plenty about the sax and blues/rock/jazz improvisation so I may be of use to someone here. We're all here with one goal in common so why not, right?
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Author: Musical Mind
Date: 2004-07-06 05:22
Yes, that's true.
I'm a sophomore high school flutist (becoming a junior this year), and I have good advices for you. When you practice, always practice in front of a mirror to examine your embouchure, hand position, posture, and flute position (how high it is). The embouchure, particularly, should be carefully observed. This is what I do to find my embouchure:
The idea is to practice long tones. pick any note from first octave A to second octave A. Set metronome to 60 and play the note as long as you can. Don't do vibrato. Your embouchure shouldn't be tense but flexible enough to blow out air to get good tone. And if you continue to do that, you will find that there's a certain lower lip placement on the mouthpiece of the flute that is most comfortable for you.
The mouthpiece is usually placed between lower teeth and chin bone (very bottom of the lower teeth). The hole is usually placed between the bottom of the lower lip skin and the skin beneath the lower lip skin, and it is covered about 1/4. This varies a little bit depending on the low, middle, and high registers.
These are particularly so out-of-tuned notes: C#'s, low F#, first octave C (second one), second octave F#, second octave B, second octave C, third octave Eb, third octave E, third octave F, third octave F#, third octave G#, and third octave C. The way to fix them? Practice with a good tuner and good breath support.
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Author: Carolyn
Date: 2004-07-06 18:10
A little off topic, but hey, what the heck. Rick, what are some of your favorite lead sheets?
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Author: Ricktator
Date: 2004-07-06 19:18
Lead sheets? For what kind of a gig?
I try not to bring any anymore. I try and commit them to memory as quick as possible.
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Author: Carolyn
Date: 2004-07-06 22:01
I'm just curious as to what your favorite jazz standards are.
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Author: Ricktator
Date: 2004-07-06 23:10
As far as fake bookin' in goes, I like it when the band calls up a medium version of "Days of Wine and Roses", perchance a little "Have You Met Miss Jones", or anything Sinatra. I really to lay back and play the swing tunes with nice chord changes.
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Author: Amanda
Date: 2004-07-07 03:55
I didn't take your post as being demeaning in the least, don't worry about that. I was just stating that I KNOW you were referring to me.
As far as the university I attend, I'd rather not give out that kind of information, but I will say it's a Big 10 school in the midwest. Take your pick. . .
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Author: Smee
Date: 2004-08-01 16:20
I like the way you guys take the mickey out of each other! It's nice to share the humour - we don't laugh enough these days. Don't fret, I'm not a loony about to infiltrate your forum - I'm just starting to learn the flute and have been picking up tips just by reading the forums on here. Thanks for the help, guys!
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