|
|
PLAYING TIPS
|
I have decided to add this column "Playing Tips" to answer questions
I've received via e-mail concerning flute technique. Due to time and space considerations, it is not possible for
me answer all e-mails I receive, but I will try to address many of those questions that have to do with the various
topics of technique that concern us all, and list them under specific categories, so that over time this section
will be a database of "thoughts" on flute technique. Of course, I realize there are many opinions on
"how to play" best, so I only intend this column as my humble opinion, and it should not be taken as
definitive, but as food for thought and experimentation.
|
|
Send your Questions to: Sunflute@Sunflute.com
|
| |
| |
| |
|
STAGE FRIGHT
|
05/22/99
Cynthia
from Wisconsin writes:
"...Was there ever a time in your life when you experienced
stagefright?..."
Answer: Regarding
nerves, I do have this to offer. I did too feel nervous when I had to perform, but life gave me the opportunity
to learn how to deal with that in a very natural way.
When I lived in NY as a student, I had to figure out a way to make money in order to stay in school and finish
my studies, and since I was a foreign student, I was not legally allowed to work a regular job to earn money. Finally,
my only real
option was to start playing my flute in the streets and in the subway. This, I did for a fairly long time.
My first year, I played mainly in the streets during the warmer months, and then I began to play in the actual
subway platforms during the winter months. I played alone for about 2 or 3 years, and then I met a bassoonist and
a violinist who also
wanted to do it, so we formed a trio. We continued doing it regularly for about another 2 or 3 years more. (we
learned a lot as a trio, because we made business cards and tapes, and we began to get a lot of gigs on the week-ends
that came to us from our subway performances)
I don't mean to bore you with a lengthy story but, when you play in a situation like that, where people sometimes
just walk by you without paying you any attention, you realize that:
1) you play because you love it, not because someone else wants you to do it, and
2) that people are people, weather they are in the subway or
in a concert hall! It's the same people (give or take a few).
The fact also that I was practically performing 3 or 4 times a week when I went to the subway, meant that I was
getting a lot of playing opportunity I would have not gotten anywhere else. I think performing as much as possible
is one way to get over the nerves.
The other way is a bit more difficult to achieve but also more
permanent, because it involves consciously separating our Ego from our flute identity, and that's difficult to
do. When you rid yourself of Ego, you're left with Love, not of yourself but of others and of the music and the
flute. When you can do that, then I think it's possible to get ready for a performance without getting the "Jitters".
Well, you may ask, How do you do that? I think, by first being really honest with ourselves as to why we play the
flute, and second by doing a lot of spiritual work on ourselves; meaning: meditation, prayer, Helping others, performing
acts of sacrifice (they can be small) for the benefit of others, and taking the broader mental attitude of not
always thinking of ourselves first, but to include others in our decisions. I think all of this leads to being
able to be more at Peace, so when you have to play, you do it freely, with Love and happiness because you're not
so
much thinking of "What are others going to think of me when I play".
This is not easy, but I am a firm believer that it is possible to
achieve.
One final suggestion I have for you and your students, and it is to Begin Thinking and Meditating on the word "PEACE".
Let it flow Powerfully through you Mind and Heart until you begin to feel a sense of calmness about you. This is
a powerful meditation. If you get into the habit of meditating on this word often, when the time comes where you
have to go out for a performance, as you meditate, you will learn to bring you body into a state of calmness more
easily.
Well, I hope this helps.
Peace
Marco
|
|
HIGH REGISTER
|
04/28/99
Vanessa
from from Naples, Florida writes:
"...I am a flute player in my 7th grade concert band. My
teacher says I have great tone quality and I play beautifully, but when it comes to playing high notes, I become
very, very sharp after a while. This problem is worsening and now my lead pipe must be pulled out half of an inch
to play correctly. Could you give me some advice on how to be a better player..."
|
Answer:
Dear Vanessa:
The subject of the high register is complex one, involving perhaps 4 elements:
1- Opening of the air column i.e. (open throat)
2- Embouchure posture (direction of the air stream)
3- Support &
4- Body posture
If any of these things are not working properly, your body then
begins to compensate, and you therefore begin to over blow to somehow make it all work. The two things in my experience,
that make the most difference with the high register are: a) opening the throat as you play high notes, and b)
making sure that the air stream from your embouchure is directed more forward and upward.
When you open the throat, you open your whole body for resonance, and therefore the tone gets to have more harmonics,
thus it sounds richer (and perhaps less sharp). So, try first yawning to feel how the throat opens, then, yawn
with your mouth closed and still feel the throat open. Finally, try to learn how to open the throat at will, by
putting your hand on your throat and feeling it open as you move the throat muscles down. After doing all this,
then try to learn how to play with the throat open, and play SLOW!!!, REALLY SLOW!!!! scales upward, feeling the
throat open, looking for a BIG, OPEN SOUND. If you start to feel your sound getting bigger then you are well on
your way.
When you direct the air stream forward and upward you also make the high register less pinched and freer. So, the
jaw needs to be slightly forward as you approach the high register. Good air support also helps, as well as making
sure you're holding the flute up, so that it is not tilting down on the right arm too much.
Now, if you do the before mentioned things you stand a good chance of not being sharp, but if you still are, the
next thing to do is to open the mouth or embouchure a bit so that the pitch comes down because of the decrease
of speed in the air pressure when you open the mouth cavity. This lowers the pitch while retaining the quality
of the sound, instead of covering the embouchure hole like we tend to do.
There's still much more that can be said about bettering the high
register but I hope this is a good start! All the best.
Peace
Marco
|
|
