The Flute Learning Curve

The Flute Learning Curve

 When one begins to learn flute there is a lot to think about: developing a correct embouchure shape, the blowing angle, proper breathing, finger placement, standing position - even just holding the instrument properly. Simply managing the making of tone of any kind is an achievement! Almost always the first sounds are often very breathy, weak and inconsistent. Very frustrating for all. 

However, if one is patient control begins to develop with practice and repetition and eventually the beginner becomes functional over a range of the first and perhaps second octave of the instrument. This is enough for most players to join a group, play some solos and generally feel good about their music making. 

At some point comes the realisation that not every note is sounding as good as the others and some notes may seem more difficult to play and possibly even be out of tune with other instruments in the group or band. At this juncture the guidance of an experienced teacher, if this has not already been available, becomes a necessity - for learning how to focus and shape each individual tone to sound its best and to take its place in a reliable, predictable intonation pattern is vital. This is a goal of every player and careful attention needs to be paid to fundamentals to achieve this.

Here is a short checklist:

• Is my stance correct, i.e. balanced weight, feet spread apart, able to move without tension?
• Am I breathing fully and supporting the breath well once taken?
• How are my lips 'addressing' the embouchure hole? Are they relaxed and supple?
• How and where am I directing my air stream?
• How efficient am I being when moving across larger leaps or octaves?
• Are my lips under control - moving easily and only as required?
• Is the tone quality the same throughout all registers?
• Can I play upper notes quietly and lower register notes loudly?
• Do all notes respond to slurring as well as tonguing?
• Can I play softly and stay in tune (avoiding the pitch dropping)?
• Can I play loudly and not go sharp?
• Am I tonguing efficiently or is my tongue stroke disrupting my lips?

Also check:

• Is my headjoint cork in the correct position? (Insert the bottom of the cleaning rod and check the line is in the centre of the embouchure hole)
• Have I pulled out the headjoint an 'appropriate' amount? (For most players approx 6-8mm to A440 pitch position)

All the above points deserve consideration and the time spent improving and developing control will be very valuable. As a general observation improving or intermediate players often play sharp without being aware of it and, until remedies are pointed out to them, they will not know how to respond. Just pulling out the headjoint is not enough as every note has its own 'best' embouchure and blowing angle.

Practice with a tuner will help (and probably shock initially) but eventually the intonation pattern of the instrument begins to be revealed. When this is observed then attention can be given to making the appropriate corrections required while playing to achieve proper tuning. This process can be helped enormously by remembering that very few good sounding, centered and attractive tones will be far if at all 'out of tune' whereas almost all bad sounding notes will be! This leads to a very memorable sentence:

Good in-tone-ation leads to good in-tune-ation.

 

As a quick aid this catchy concept is hard to beat and it can lead on to a lifetime of rewarding and efficient practice. As one reaches top levels of achievement standards the challenges do not end they just change and a player will become able to handle more difficult passages with ease but when faced with something daunting must still go back to basics to figure out how to tackle the problem and somehow make the seemingly impossible appear not only possible but beautiful!

 

 The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful.

Thomas Dryer-Beers