Tag: flute practice tips

Practice What You Don’t Know First

March 3, 2017 at 11:39 pmCategory:Flute Practice Epiphany | Practicing the Flute

Practice what you don’t know first and most.

Seems obvious, doesn’t it? It is all too easy to start our practice with what is most familiar and comfortable. But that does not help us conquer what is difficult and uncomfortable. Especially when we have limited practice time and are overwhelmed by what we feel we need to accomplish. The simplest and most efficient approach is to start with what we are most unfamiliar with. After all, why practice what we already know when there is so much we want to learn and improve?

I learned this firsthand when there was a period of time where I had a lot of unfamiliar music to learn and limited time in which to learn it. I tried to make the most of what little time I had, ten minutes here, maybe a half hour there, if I was lucky. Subsequently I was amazed that by concentrating my full attention (and please note that I am emphasizing attention and not pressure) on the passages that I was least comfortable with, I made quick progress toward being performance-ready.

I credit my teacher during this time, Alex Murray, for this approach. He gave me many practical, common sense ideas to use in my practice, and this is one of what should have been one of the most ridiculously obvious of ideas.

So if you have little time to practice, start with the passages that give you the most trouble. Give them that laser-like focus that you have when your time is limited. You might be amazed by what you can achieve.



Intonation Naivete; Be Kind to Your Listener’s Ears

November 28, 2016 at 3:15 pmCategory:Uncategorized

Image result for ear hearing music


When I was young and naïve, I liked to program unaccompanied pieces, because I thought that I didn’t have to pay as much attention to intonation. If there was no other instrument to compare my pitch to, nobody would notice if I was a little (or a lot!!) flat on the low notes or just a tad (or a mile) sharp on the high notes? After all, only those extremely rare people with perfect pitch could tell the difference and even that was about the notes, not the intonation, right? HA! I was so wrong, and if you think this way, too, so are you!

Learning to play in tune isn’t just about learning to play in tune with others, it also about learning to play in tune with yourself. If you are playing without accompaniment, the pitch of the first note you play determines the placement and intonation of every note that comes after. EVERY NOTE.

In the listener’s ear, the intonation is always relative to some reference point. As a piece progresses, the reference might shift a little, but the listener’s brain is constantly measuring and comparing each new pitch to pitches that came before. The proportions of the intervals are dictated by mathematical proportions that occur naturally. Your brain recognizes them, even if you don’t know specifically what they are. Even if no one in your audience has perfect pitch, there is something in each of their brains that says “Hm, the notes seem like they fit, but something is a little off.” If the intervals between the reference pitch and succeeding pitches are too big or too small, you run the risk of sounding ‘off-key’ if it’s really bad, or just not quite right if it is only a little. So, yes, your intonation matters even when you are playing unaccompanied pieces.

To address this, practice your unaccompanied pieces against a drone pitch,  usually the tonic pitch of the piece or section you are working on. I advise you to practice this way for two reasons. First, so you can work on keeping a consistent pitch center, not letting your overall pitch wander around. Second, so you can work on learning the sizes of the intervals between the tonic and the other notes in the piece. It’s not enough to know the notes and which keys to press and how to make each note sound pretty, you have to learn the actual sizes of the intervals.

Just like when you sing and you don’t have keys or finger positions to help you find the pitches, you have to learn the size of each interval from one note to the next and from the tonic to each note. (Knowing the pitch tendencies of your instrument and how you play it is very helpful in this endeavor, hint, hint) This is what ear training courses are supposed to teach you, though most forget to teach you why you might want to know how to do this.

I’m starting to ramble now, and maybe rant a little, so I’ll summarize by saying this. Yes, your intonation does matter when you play unaccompanied pieces, so you have to subject them to the same careful intonation practice that you would anything else. Your audiences will thank you for it!


Intonation in Action Exercise

April 1, 2016 at 10:27 amCategory:Practicing the Flute

In my mission to help people improve their intonation, I’ve had to come up with exercises that people can do in their own practice. Once I’ve convinced players that notes need to be adjusted according to their context in the music, regardless of what any tuner’s meter says, it helps to have exercises to back it up.

The attached handout is part of a set of exercises that you play against a drone, the tonic note of each exercise. In this case, all exercises are in C Major, so set your drone, tone generator, or helpful friend to play the middle C. As you play each exercise, you pause to listen to how your note compares against the drone; e.g. is it sharp, flat, or in tune with the drone? Don’t move on to the next note, until you get your note in tune!

introductory intonation exercises


The exercises start out by working on matching the unisons and octaves in the context of ascending and descending scales and arpeggios. Then they progress to tuning more of the notes in relation to the drone. The arrows indicate which direction the pitches need to be adjusted in relation to the drone pitch, assuming that you are playing them perfectly in equal temperament, i.e. in tune with a tuner meter. You may not need to make any adjustments, but let your ears be the judge.

So, give it a try! Then play it in all Major keys. Minor keys will require different adjustments, but after practicing the major keys for a few weeks, doing this in minor will be easy.

Reminder: we don’t hear in equal temperament. In order for our ears to register different harmonies as being “in tune”, we have to play the harmony note either higher or lower than a tuner would tell us to. (If this is new information to you and you need more proof than my say-so, there are many sources you can look up on the Web or in the library.)


Advantages and Disadvantages of Improving Your Sense of Intonation

March 29, 2016 at 10:11 amCategory:Uncategorized

The other day I was thinking about the advantages of improving your sense of intonation, the ability to hear and respond to pitch fluctuations, and it occurred to me that there were also some disadvantages (yes, I said disadvantages) that go along with it. Here is my list of 5 advantages followed by my list of 5 disadvantages. Ready?

5 Advantages to Having a Good Sense of Intonation
1. Because you play well in tune, you sound better and are perceived as a better player. Everyone wants to be thought well of.
2. Your tone is usually better and more consistent because you are managing your air better in order to play in tune better. Your technique has to improve in order to make the adjustments necessary to play in tune.
3.You are better able to convey musical ideas both because your intonation is good and because you can concentrate more on other aspects of playing when your intonation is well-managed.
4. Other musicians enjoy playing in ensembles with you because your intonation is good. Directors notice, too, and are favorably impressed.
5. You feel more confident and at ease when you know your intonation is good. Playing is more fun!

Now for the opposite side of the coin.

5 Disadvantages of Having a Good Sense of Intonation
1. Playing with musicians who don’t play in tune becomes increasingly frustrating. But now you know how others felt before you got better!
2. You may develop a bit of a superiority complex, and become less tolerant of other’s intonation flaws. Worse, you might start trying to tell them what to to, resulting in them thinking you are bossy or snobby.
3. You have fewer excuses for playing out of tune once others become used to you being able to play with good intonation.
4. Once you develop a good sense of intonation, you will never be able to listen to music in the same again. You will constantly be aware of inconsistencies and clashes in the intonation of everything you hear. And you will never be able to sit through a beginner band concert with a straight face again, no matter how much you love the sibling, niece, nephew, son, or daughter you are there to hear. My hat is off to all the directors of beginner bands. Every day your ears must take a terrible beating, but you keep at it anyway, and we all benefit from your sacrifice!
5. I couldn’t come up with another believable disadvantage. If you can, or there are advantages I have missed, please put them in the comments and share them.

Don’t get me wrong, I definitely believe that the advantages greatly outweigh the disadvantages, especially being able to fully convey the music while feeling good about it. For most of us, it takes a lot of work to develop a good sense of pitch, then it takes more work to develop the ability to adjust pitch on demand in order to play in tune. But it is well worth the work, and the personal enjoyment of playing well is the reward.


Articulation Inspiration

February 4, 2015 at 9:28 pmCategory:Uncategorized

Every year at the Florida Flute Association Convention I see or hear something that inspires me, something that I try to integrate into my own playing or musical philosophy. This year I was so busy with presenting a teaching session, conducting a flute choir performance, and giving a performance presentation, that I feel like I didn’t see all that much. But, I still got my moment of inspiration!

This year’s featured performer was Aaron Goldman, principal flutist of the National Symphony Orchestra in Washington DC. After reading about him and his experience auditioning for the NSO, I looked forward to hearing him perform and learning about him. My events were all finished by Saturday evening’s gala performance, so I was free to attend and listen without the distractions of having my own things to worry about.


I will admit that I was not captivated by his performance in the gala concert. Yes, his technique was flawless and fluid, almost effortless, and his fast articulations miraculously clean, consistent, and consisting of more tone than tongue. However in my state of fatigue I was not moved and did not stay through the whole performance. Isn’t it odd that when a performance seems too effortless, it also feels as if the performer is not really engaged? I like a little of the performer’s personality to come through, a sense that he or she is excited by the music, and that was not coming through for me.

I was sufficiently impressed, though, so that I attended the next morning’s warmup session led by Mr. Goldman where he introduced people to exercises he uses to improve and maintain his sound production. The exercises were not new to me, ala Moyse, but I was impressed that Goldman actually explained why he used certain exercises, and how he used them to continually challenge himself to make better sounds and increase his skills. Teachers and presenters often don’t give you the why of a thing, resulting in students blindly trying to  recreate something that was never defined for them in the first place.

My revelation came in the masterclass Goldman taught. With one of the performers, he was given the opportunity to address articulation and how he approaches it. This was of particular interest to me, because my own double and triple tonguing are not what I would like them to be, so I was anxious to hear what he might suggest. Simply, he put the emphasis on the tone of the notes, rather than the tonguing.

This makes so much sense! Listeners don’t care so much about the mechanics of your articulation, they are interested in hearing the notes so they have something to follow. Think of the articulation like this: each articulation has a little t or k (or whatever syllable you are using) and uppercase AH:  tAH, kAH, dAH, gAH. This fits right in with the idea that the articulation only begins the note, and that once the articulation has been made, you have to get out of the way of the note.

Personally, I have been starting out OK on lengthy articulated passages, but after a few measures I start to really bear down on the articulation and the tone disappears. This is exactly what I needed to hear about right now. It is a reminder of what I already know to be true and at the same time, a new insight. I have new goals to work on now and a method of achieving them.

Mission accomplished, my yearly inspiration has been provided!