Getting to Know the Piccolo Better

Many flute students are surprised when they try or acquire a piccolo for the first time and realize that, despite its similarities, it cannot be played in exactly the same way as a flute. Questions then arise about how to study, what to study, and to what extent the piccolo should be treated as just a small flute.

The first step to better understanding this instrument is learning how to identify the different models of piccolos on the market and understanding their similarities and differences compared to the flute. These differences can vary greatly depending on the model.

1. Materials

Unlike flutes, piccolos vary significantly in both the materials used and the shape of their bodies. They can be made of plastic resin, metal, wood, or a combination of these (e.g., a metal headjoint with a resin or wood body). The choice of material greatly affects the sound, quality, and cost of the instrument.

Plastic resin (usually black) is highly durable and resistant to climate variations. It was developed to imitate the sound and appearance of wood at a much lower price. Resin piccolos may have either a resin or metal headjoint. Resin and wooden headjoints do not feature a lip plate like flutes, as the material is thicker.

Metal piccolos (typically silver or nickel silver) most closely resemble the traditional metal flute. They have a metal headjoint with a lip plate and are usually cylindrical. They are durable and robust but produce a brighter, more penetrating sound compared to resin or wood. This type is more suitable for large ensembles, such as bands and marching groups.

Wooden piccolos are always conical and produce the sweetest and most flexible sound, allowing for greater expressiveness. The most commonly used wood is grenadilla, a very dense African wood similar to ebony (now endangered and no longer commercially available). Wooden piccolos may have either a wooden or metal headjoint. They are typically the most expensive and are the preferred choice for professional orchestral and symphonic players. Their sound blends more easily with other woodwinds and string instruments. However, because wood is organic, wooden piccolos require special care. Temperature and humidity changes can cause cracking, so a new wooden piccolo should be played for no more than 30 minutes a day during its first month. The moisture from playing can cause the inner bore to swell, increasing the risk of cracks. It is also recommended to treat the wood with special oils at least once a year to hydrate the fibers and prevent water penetration. This procedure should be performed by a specialist.

2. Conical vs. Cylindrical

Beyond materials, another important characteristic is the shape of the body, which may be conical or cylindrical.

Cylindrical piccolos are more similar to flutes in terms of playability and tuning. The body is cylindrical like the flute, and the headjoint is slightly conical, usually made of metal. The presence of a lip plate helps beginners find the correct embouchure.

Conical piccolos, in contrast, are similar to the old wooden conical flutes that largely disappeared in the 19th century. Their body tapers toward the lower end, enhancing note strength, flexibility, and sound dynamics. They are less similar to modern flutes in terms of tuning and playability, but are favored by professionals for their rich tone and dynamic range.

3. The Sound

One of the greatest challenges for piccolo players is controlling tuning and dynamics. Producing a sweet, delicate sound requires adjusting the air pressure—beginners often blow too hard. After the initial shock, the student should aim to blow as lightly as possible, starting from the middle register and gradually exploring the higher and lower ranges. Excessive lip tension should be avoided, as it reduces flexibility and pitch control. Softer, more relaxed lips also help reduce shrillness.

4. Where to Start

Chromatic exercises, such as those found in Moyse’s *De La Sonorité*, are excellent for developing proper piccolo embouchure. Next, interval exercises help develop control over pitch and dynamics. Scales and arpeggios in one octave are ideal at the beginning.

Getting used to the smaller key layout of the piccolo is also essential, as hand and finger placement differ slightly from the flute. A natural, relaxed hand position is crucial for developing technique. Scale exercises such as Taffanel & Gaubert’s Exercices Journaliers (p. 112) or Celso Woltzenlogel’s method (p. 117) are highly beneficial. We also recommend Nicola Mazzanti’s Piccolo Method.

5. The Repertoire

Although the chamber repertoire originally written for piccolo is limited, nearly all flute repertoire can be used for piccolo practice. Baroque sonatas and concertos are particularly suitable for beginners, as are technical studies by Andersen and others. Three beautiful concertos by Vivaldi were specifically written for piccolo, but they are quite challenging and should be studied only after gaining solid command of the instrument.

The piccolo is primarily used in orchestras and bands, where it is often treated as a solo instrument due to its distinctive timbre and projection. It frequently carries melodic lines and adds brilliance to orchestral tuttis. Its small size allows for great agility, a feature widely explored by composers.

The most famous orchestral excerpts are compiled in albums dedicated to piccolo study. These passages are often extremely demanding, both technically and in terms of sound and tuning.

Knowing how to play the piccolo well can lead to more job opportunities. It’s important to start studying piccolo early on—many students neglect it until a job opportunity arises, only to realize too late that they lack the necessary skills.

Therefore, it’s advisable to balance flute and piccolo practice from the start. At first, playing piccolo may interfere with flute embouchure, but alternating practice between the two is a good strategy—and often a requirement for professional flutists.

6. About Tuning

First, make sure the headjoint cork is positioned correctly by checking it with the tuning rod provided by the manufacturer (usually at 7.5 mm, though this may vary by model). Insert the rod into the headjoint—its marking should align exactly with the center of the embouchure hole. This adjustment is even more critical on piccolo than on flute.

If your piccolo is conical, specific tuning studies are necessary. Tuning tendencies differ significantly from those of the cylindrical flute. Notes that tend to be sharp on the flute, such as C#, may be flat on the piccolo. Recognizing and correcting these differences is key to tuning the instrument well.

Some flute fingerings are especially out of tune on conical piccolos, notably B2, C3, C#3, and D3, which tend to be very flat. It’s important to find alternate fingerings specifically suited for piccolo and use them in slow passages and sustained notes. Reserve standard flute fingerings for faster passages, where they can act as simplified alternatives.

While many fingering charts are available, variations among instruments make it difficult to predict which will work best. Only practice and experimentation can determine the most effective fingerings. Alternate fingerings can also help control dynamics and timbre, making problematic notes easier to produce and enhancing tone blending with other instruments.

Below is a basic fingering chart and a chart with alternate fingerings for piccolo. Each fingering should be tested on your instrument, ideally using an electronic tuner to assess accuracy and usability.

Fingering Piccolo

Basic Fingering Chart Piccolo

Alternate Fingering Chart for Piccolo

Repertoire suggestions for study:

G. F. Handel, 11 Sonatas for flute and continuo

A. Vivaldi, 6 Sonatas for flute and continuo Op.13 “Il Pastor Fido”

G. B. Pergolesi, Concerto for Flute and Orchestra in G Major

G.P. Telemann, various concertos and sonatas

J. J. Quantz, Concerto in G Major for Flute and Strings

A. Vivaldi, 6 Flute Concertos Op.10

G.P. Telemann, 12 Fantasies for Solo Flute

Some works originally written for piccolo:

A. Vivaldi, 3 Concertos for Piccolo and Orchestra

L. Liebermann, Concerto for piccolo Op.50

J. Gippo, The Golden Age of the Piccolo

T. Wye, Piccolo Practice Book, Album for Piccolo & Piano (Vol. I and II)

Tanzer, A Basic Guide to Fingerings for the Piccolo

Wellbaum, Orchestral Extracts for Piccolo

Most significant symphonic repertoire:

*** Appears in almost all orchestra tests

** Appears frequently in tests for orchestra

* Occasionally appears in orchestra tests

Bartok

Concerto for Orchestra ***

Beethoven

Symphony #5 *

Symphony #9 ***

Berlioz

Damnation of Faust - Menuet des Follets **

Symphony Fantastique **

Dvorak

Carnival Overture *

Hindemit

Nobillisima Vision *

Ipolitov-Ivanov

Caucasian Sketches - Procession of the Sardars**

Mahler

Das Lied von der Erde *

Symphony #1 *

Symphony #2 *

Symphony #8 *

Prokofiev

Cinderella *

Lieutenant Kije **

Ravel

Bolero *

Daphnis and Chloe ***

Mother Goose **

Piano Concerto in G*

Rhapsodie Espagnole *

Respighi

Fountains of Rome**

Rimsky-Korsakov

Scheherazade ***

Rossini

Gazza Ladra overture ***

Scala di Seta overture **

Semiramide overture ***

Shostakovich

Symphony #5 **

Symphony #6 **

Symphony #9 *

Symphony #10 **

Sibelius

Karelia Suite *

Smetana

Bartered Bride overture *

Sousa

Stars and Stripes Forever *

Stravinsky

Firebird ***

Petrouchka *

Tschaikovsky

Nutcracker (Danse Chinoise) *

Symphony #4 ***

Wagner

Magic Fire Music from "Die Walkure" *

References:

Jan Gippo, Special Piccolo Fingerings, Flute Talk Magazine, July 1995 and November 2000.

Celso Woltzenlogel, Illustrated Flute Method, Irmãos Vitale Editores, Brazil, 3rd Edition, 1995.

Taffanel & Gaubert, Méthode Complète de Flûte, Alphonse Leduc, Paris, 1958.

Author: Marcos Kiehl

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