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Tools and Tips for Playing
the Flute
Tone Quality
Go for a clear unobstructed tone,
a quality often heard in classical
music but useful in any style. Pick
a note; hold the softest tone you
can play, keeping it centered
and constant. When you feel you
have the right focus, bring that
sound with you when you move;
slurring first to the closest neighbor
notes and then to wider intervals.
Range
The mid-range notes of the
flute get played most often. The
highest and lowest require extra
attention for balance and quality.
From a central point, gradually
build up and down to include
the entire range. Tension in the
embouchure and air speed tend
to increase going up and relax
on the way down. Don't stop till
you get to the top! (or bottom)
Dynamics
Explore the dynamic range using
long tones. Start with one note at
the softest level. Practice gradually
getting louder and softer again
over 16 counts without dropping or
breaking the tone. Cover the entire
range of the instrument. Picture the
sound out in front supporting you.
Articulation
Notes can be tongued or
slurred; played legato, staccato
or accented. Articulating well
musically is like speaking clearly
and deliberately. Your intention
for timing, pitch and phrasing is
appreciated by listeners.
To start or tongue a note
answers the musical question
When? with now! On the flute,
the shape of the sound needs
to be ready so that intention
and delivery are in alignment.
Prepare for this by setting a
tempo with a silent one measure
count-in before playing starts.
The attack or start of the note
begins with the syllable tu or du.
Double-tonguing, an alternating
tu-ku or du-gu when matched
with accurate fingering allows
for much faster playing; DT
practice is most effective when
begun slow and legato, with
syllables connected end to end.
Rhythm
A core part of musicianship
is about being on time. Those
who play in groups rely on it.
Practicing with a metronome
can help you connect with your
internal clock or stabilize an
unsteady count. Use it to map
the subdivisions of time when
working out new material.
Sequenced drum patterns
can serve a similar function
by adding rhythmic texture.
Playing to a steady beat at a
slower tempo gets the best
results, slowly enough to deal
with whatever is coming up in
realtime whether reading music
or improvising over chords.
Tempo
Musicians use tempo control
and economy of motion to
create smooth and direct point
to point movement on their
instruments. This is desirable in
any style of music. When reading
a new piece, be willing to play
slowly enough to stay on time
without having to hesitate or stop.
Play slow, learn fast! Find the
tempo that works best for you.
Reading Music
Look ahead to resolve
problems before you run into
them. Visually scan a new
piece of music to identify any
unfamiliar notes or rhythms.
Loop the sections that need
work and play through them
a few times using a slow
and even tempo. When this is
done, add in what came before
and after to finish the job.
Classical
Classical music is a fixed
repertoire. It’s already composed
and requires the ability to read.
It’s supposed to sound the same
each time it is played albeit with
tasteful interpretation. As a
constant form, it serves as a
vehicle for people of similar
skill to play together; Prepare
as much as you like with tone
development exercises, scales,
arpeggios, etudes and sight-
reading. Working hard to get
better sets up a field of gravity
that can draw you to others.
Jazz and Improvisation
Start improvising by limiting the
palette. Chord structure itself
can be used to quickly build a
consonant solo. Identify the Root
(1st), 3d, 5th & 7th notes making
up a chord. Create some rhythmic
ideas using only chord notes.
Continue in the same manner
with chord progressions in songs.
Use this technique to build a solo
while outlining chordal material.
Works great with folk, rock or
pop; genres often less complex
containing mainly triadic chords.
Harmonic Voice Leading
Spell through the chords in a
progression or song using a fixed
value like a quarter note. Move
from the fourth note in the group to
the nearest note in the next chord;
continue spelling that chord and so
on. Spell the chords using other
fixed values or pulses: try using 3,
4,5,6,7,8,9,10 or more notes.
Connect the Dots
Begin to bridge the spaces
between 1-3, 3-5, 5-7 (1-5, 3-7)
using chromatic, mixed whole and
half steps or passing tones; up or
down from one chord note to the
next. Resulting duple or triplet
figures can generate rhythmic
propulsion. Target chord notes as
points of departure and arrival in
your improvisation.
Chord Study
Learn to construct the four
diatonic 7th chords:
Major 7, Dominant 7, minor 7,
and minor 7b5. You may notice
that each contains series
of stacked Major and minor
thirds which appear in the
following order by chord type.
Major 7th - MmM,
Dominant 7th -Mmm,
minor 7th - mMm,
minor 7th b5 - mmM
Four chords x twelve keys.
See also
Improvisation and Music Theory
Scale Tone Chords
Happy Music Making.
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