http://practicingflutist.com/wordpress A resource for flutists Mon, 08 Aug 2011 10:57:46 -0700 hourly 1 http://wordpress.org/?v=3.1.4 http://practicingflutist.com/wordpress/intonation-practice/making-use-of-your-pitch-tendency-chart/improving-your-ear-step-2/comment-page-1#comment-10 john monaghan Mon, 08 Aug 2011 10:57:46 +0000 http://practicingflutist.com/wordpress/?page_id=116#comment-10 But you don't tell the student HOW to get a note in tune. My old teacher (and this was a very long time ago) told me very specifically what to do with my lips and jaw to get a note in tune, and how to modify the lip change or jaw movement, depending on the volume. This was so long ago that people didn't have tuners, and I don't think that was a handicap. Among other people he studied with, he took lessons from Pablo Casals, a cellist, for three years. Casals said that "There is more distance between C# and D-flat than there is between C and D-flat, or C# and D." And of course, he played that way. String players do not play with a tempered scale, and my teacher tried to emulate them. He played second flute in the Cleveland orchestra when he was nineteen, and first flute there when he was twenty-one, so he couldn't have been too bad. Again, tell your students specifically how to change their lips and jaw to adjust the pitch. But you don’t tell the student HOW to get a note in tune. My old teacher (and this was a very long time ago) told me very specifically what to do with my lips and jaw to get a note in tune, and how to modify the lip change or jaw movement, depending on the volume. This was so long ago that people didn’t have tuners, and I don’t think that was a handicap. Among other people he studied with, he took lessons from Pablo Casals, a cellist, for three years. Casals said that “There is more distance between C# and D-flat than there is between C and D-flat, or C# and D.” And of course, he played that way. String players do not play with a tempered scale, and my teacher tried to emulate them. He played second flute in the Cleveland orchestra when he was nineteen, and first flute there when he was twenty-one, so he couldn’t have been too bad. Again, tell your students specifically how to change their lips and jaw to adjust the pitch.

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