Tag: flute practice tips

Intonation in Action Coming Up!

January 23, 2014 at 11:29 pmCategory:Uncategorized

It has been forever since my last post, but I have been productive in the meantime and more will be appearing here. I’m conducting two flute choirs now and the orchestra I play in has started up again, so I’ve been trying to balance all that while not overextending myself TOO much.

So, the Florida Flute Convention is this weekend and I’ll be conducting a performance by the Tampa Bay Flute Choir and presenting Intonation in Action, an extension of all the intonation stuff I post about. It has taken forever to come up with the structure of this particular presentation, but, by Jove, I think I’ve got it! If you read this after seeing the presentation, I’d be thrilled to hear what you think. And if you can’t be there and want to know what this is all about, contact me through the website and I’ll send you the PowerPoint, but only if you promise to give some feedback.

More next week, after I catch my breath. Happy Fluting!


Intonation in Action at the Florida Flute Fair 2014

November 6, 2013 at 10:29 pmCategory:Uncategorized

Yay! My proposal to present at the 2014 Florida Flute Fair has been accepted so I will be presenting a workshop on Intonation in Action. I will also conducting my flute choir, the Tampa Bay Flute Choir, at this year’s event, so I will be busy in January!

The workshop will involve audience members in demonstrations and techniques that I use to work on intonation in playing situations. This isn’t about being able to hit a target on a meter; it is about learning how to develop intonation awareness and develop the ability to respond to changing pitch contexts. Exercise and develop those intonation reflexes!!

More about this later. You know I can’t keep from talking about intonation stuff! Check out more about the Florida Flute Association and the yearly convention here:


Advantages and Disadvantages of Improving Your Sense of Intonation

November 5, 2013 at 7:11 pmCategory: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.


Emmanuel Pahud plays Berio and some Bach

October 20, 2013 at 5:04 pmCategory:Flute Treats

An excellent musician must be able to play music from many genres and styles. Emmanuel Pahud demonstrates his mastery of the flute and of one of the classics of the flute repertoire in this video of a performance of Luciano Berio’s Sequenza I for solo flute.

To hear Pahud playing something more conventional, listen to his recording of a Bach standard, the Corrente from the Partita.

These examples only go to show that when it comes to the study of music, there is always more to explore and learn. You should never be bored when there are so many different styles to indulge in and conquer!


Practice Diary 7/29

July 31, 2013 at 6:46 pmCategory:Practice Diary | Uncategorized

EJ4 from GbM to am
-clipped articulation exercise is easier if I remember to pause and expel excess air
-don’t practicing straining, you already know how to do that!
-overall focus is good, air doesn’t wander as much, especially when I think of playing out to an audience
-remember to push for better, it is easy to go with OK, to forget there can be much more, push for better!

CPE Bach am solo sonata
-the big leaps downward in the 3rd movement, the air attacks seem OK, but when articulation is added, notes are still not as clear as a pianist might be
-tried slurring through the figures, maybe the problem is the disturbance of the air on repeated notes, jaw and embouchure are opening on the 2nd note in the group, having to get back into position to play
-this is a case of expression getting in the way of technique
-opening in embouchure is too wide, how to address that; haven’t found a way that is effective for me yet
-feel like I’m just getting going when the timer goes off. tomorrow – 45 minutes!