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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.

E Pluribus Flutum

March 21, 2012 at 6:56 pmCategory:Flute Treats

Can you say flash mob? How amazing that a group of flutists was assembled to do this, and they seemed to have learned it very well! What an interesting idea, and there are all kinds of instructional videos to go with it so you can do try it with your flute friends!

Rehearsal Flutist Syndrome

March 20, 2012 at 8:33 pmCategory:Uncategorized

Wow, I’ve been so busy these last couple of weeks, again, that I’m beginning to feel like a weekend warrior. You know, one of those people who go all out on weekends or during the once a week practice session for whatever sports league they play in while the rest of the week they sit on the couch or at a desk. My flute comes out for teaching or rehearsal, but otherwise it sits on its shelf or in its case, quietly tarnishing. I’m playing pretty well, surprisingly well, but I feel really disconnected from my ‘flutist’ self. Well, until I can stop being a flutist with a day job, or become a flutist whose day job is more flute-friendly, this is how it has to be. Unless I either go crazy or get brave some day and chuck the day jobs to concentrate on my own things. This is always a possibility. Remote, but a possibility.

Flutes for sale! Among other things . . .

February 11, 2012 at 3:43 pmCategory:Uncategorized

I just got back from an auction for a local music store that is closing up shop. There were all kinds of things there, guitars, band instruments, amps, rainsticks (so cool!), etc. I went to check it out and see if there were any alto or bass flutes, pennywhistles, music or electronic gizmos that I could use.

In the flute category it was a sore disappointment. All the flutes were ancient, already used and abused when the store acquired them. Besides being ancient, they were all lower quality or no-quality brands. They would all have required work to make them decently playable. I toyed with the idea of buying some if they went cheaply enough and donating them to someplace that has a real need for them, but that would have taken more money and time than I have to make them usable. Besides, they were really bad! The kind of bad that makes you cringe when a student walks in the door with one, even before the case is opened. The kind of bad that makes you think “This flute would make a nice lamp or something!”

What surprised and intrigued me was a man and woman who were staking a claim on them along with some clarinets (which were also pretty scary). She was really jazzed about them, but it was clear that she wasn’t a music store owner or a flutist. I wanted to ask her what was exciting her so much about these decrepit instruments, but I stayed out of the way as she hunted and gathered. Then it occurred to me that she was possibly an online seller, somebody that sees these things solely as commodities, but has little real knowledge of them, ready to resell them to unsuspecting people looking for a deal or needing a break on getting an instrument for their kid. The kind of reseller that might shine the flute up a little, and sell it for $100 or so, but bears no responsibility as to whether the flute actually plays or not.

Maybe this is harsh, but I have seen plenty of ads, placed by resellers that have no idea what they are selling, and are just trying to make some money and move on. The ads sound so good but once an actual brand name is mentioned or a picture is posted, it is clear that the product does not match the hype. I hate the thought of unknowledgeable people being taken advantage this way, I think it sours their musical experience and that is unforgivable. Sure there are lots of stories of a treasure that was found at a pawn shop, which is what I was hoping for today, but instead I only found disappointment and opportunism. I hope I’m wrong.

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!

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