Practicing the Flute « Practicing Flutist

Intonation is Relative

March 23, 2012 at 8:33 pmCategory:Practicing the Flute

I am constantly surprised at how differently I approach intonation practice than so many other people. I was in a flute choir rehearsal last week and the director was working on a passage where the intonation was not working. She was working on just 3 notes that a section had to play, D3-F3-D3. They got the first two notes going pretty well, but they could not come back to the second D3 from the F3. I made a remark to myself that the problem was not the notes themselves, it was that the descending interval was not the same size as the ascending interval. The flutist next to me heard and said something like “Wow, you really analyzed that on a different level!”

I do not have such great ears that I was hearing what each player was doing. It only makes sense that if they can play D3-F3 with and be in tune with each other and don’t get back to the D3 together, they have done something differently. The second D3 is different from the first and the second interval is a different size than the first.

To me, this is part of learning to play in tune, not so much that the individual notes are at the ‘correct’ frequency, but that the intervals are the proper size. Start by not stretching the octaves, don’t go sharper as you ascend or flatter as you descend. All D’s are proportional to each other, make them sound that way. Same for all E’s, F’s, C#’s, etc. So simple, so difficult, and so necessary. If the director had told the section to play the second D3 the same as the first, it could have been a much simpler fix, rather than saying ‘you are sharp and you are flat’ etc. Intonation is relative. Start from note and tune every other note in relation to that one.

Looking for a Pitch Tendency Chart?

February 7, 2012 at 8:42 pmCategory:Practicing the Flute

I’ve noticed that one of the most popular pages on this blog is the page on creating a pitch tendency chart. I have a feeling that what people are really looking for is a chart that will tell them what the pitch tendencies of the flute are, so I thought I would explain why I haven’t provided such a thing, but instead tell you how to create one for yourself.

While there are some pitches on almost all flutes that can be counted on to be sharp or flat intonation-wise (c# in the staff, e and f# above the staff), individual players and different flutes will each have their own tendencies for all the other notes. A note that is flat or sharp for one person may not be for another. And if you play on different flutes for different purposes, especially if you play alto, bass, picc, etc., you will want to chart your tendencies on those flutes as well.

There are two purposes for charting your pitch tendencies. One is so that you will know what your own tendencies are so you can learn to adjust for them. The second is that just by doing the work of charting your tendencies, you become more aware of your tone production and improvement begins almost automatically. This is why I don’t provide a chart of generalized pitch tendencies, because they might not apply to you! So spend a little time, make a nice chart and start measuring your own personal pitch tendencies. You might be surprised at what you find!

A Flutist’s Education is Never Finished

October 10, 2011 at 8:21 pmCategory:Practicing the Flute

As I was practicing my daily dose of Moyse exercises (I’m on Day 13 now, more ABCD), I experienced a tremendous feeling of gratitude for the kind of flute education that I have received. While I feel that I have learned many things on my own, and that students (myself included) are largely responsible for what they learn, I felt very grateful for the lessons my teachers taught me and for the many things I have learned.

For some time now, I have been feeling pretty isolated, flute-wise and education-wise. I do not meet too many people who have had the advanced music education that I have. Most people make a lot more money than I do, or are at least employed in their field, but these are all results of choices we each make. Lately I’ve been meeting flutists who would love to have had the teaching that I received, that are craving knowledge that I have been taking for granted. Reading posts on the Flute List regarding Sir James’s Moyse scale challenge have also reinforced this. There are so many people who have not had a teacher that really taught them the basics of how to play the instrument. Those of us who have had an intensive, thorough flute education are very, very lucky.

But, we shouldn’t stop there! I’ve also been reading stories, articles, and posts about flutists that continue their learning every day. Their curiosity and enthusiasm and determination never wane and neither should yours and mine. There is always more that you can do to improve as a musician. You can read about music and musicians, study scores, compose and arrange pieces, listen to recordings, go to performances, etc, etc, not to mention practice!

As a flutist with a day job, I often bemoan the time that I cannot spend on music and the education that is not being exercised and utilized often enough. Today I was able to remember that I am very lucky. I hope I can carry that feeling around for a long while! Now, go practice your scales and see what you can be grateful for!

Sir James’ Scale Challenge

October 4, 2011 at 5:55 pmCategory:Practicing the Flute

Have you heard about Sir James Galway’s scale practicing challenge? It has been the buzz of his forum for weeks. He has challenged all flutists who are willing to put some serious work in to go through Moyse’s Daily Exercises method book with him. He has pledged to do the practice routine prescribed in the book every day, no matter where he is, and wants others to do the same. Neat, huh?! Can you imagine yourself practicing the same exercises that this legendary flutist is doing every day?

I have to admit that I got so enthusiastic that I jumped the gun and started right away. Turns out that the challenge didn’t get started ’til Sept. 26, but I figure that I might miss a day here and there so I’ll probably finish along with everyone else. These are some pretty rigorous exercises, and if I hadn’t worked through them before, I would probably be pretty intimidated to try it now. You start out with basic scales, then work through ever-widening intervals and iterations of broken chords. It is a terrific workout! I believe that working on the wide intervals is one of the keys to developing a flexible sound that is consistent in all registers.

Copy and paste this link into your browser, it will take you to a video of Sir James demonstrating why and how to practice these scales.

http://galwaynetwork.com/scale.htm

This could be some of the most important practicing you ever do!

Cats and Flutes

August 28, 2011 at 5:32 pmCategory:Practicing the Flute

I’ve noticed that many flute people are also cat people. I have always had cats and I seem to know more flute people with cats than with dogs. Maybe this is just my experience, but I wonder if there is something to it.

Cats do seem to make good musical companions because they are usually pretty disinterested in what you are doing and will leave you alone when you practice, though they may complain if you spend a lot of time in the high register. Some flute friends were at my house last week to read quartets and I was certain one of my cats was about to swat the person playing the first part of a particularly high-reaching piece. Turned out that he just wanted to see if he could get her to share her chair.

My cats do seem to have an affinity for my flute bag (and anyone else’s!) so I can’t leave it lying on a table or else it will be covered in fur. The same goes for open flute cases. Very cute, but not good for the flute! A couple of them also delight in clearing any table or desk of music, tuners, metronomes, etc., with reckless abandon. They then look up at me as if to say “I was only doing my stretching exercises. Didn’t you want this table cleared off?”

One of my cats particularly likes the Baroque flute. When I play it for him, he gets this beatific look on his face and he gives a lovely little meow in the pauses between phrases.

I probably sound like the crazy cat lady, but I share my home and often my practice space with a colorful cast of feline characters. I just hope they get as much out of it as I do!

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