A Whole Tone on the Whole Flute - Chad Criwell
Citation: Criwell, Chad, A Whole Tone on the Whole Flute. Teaching Music, Jan 2012, Vol. 19, no. 4, pp. 50-51.
Article Title: The Whole Tone on the Whole Flute
Author: Chad Criwell
Magazine or Journal Title: Teaching Music
Summary:
Article Title: The Whole Tone on the Whole Flute
Author: Chad Criwell
Magazine or Journal Title: Teaching Music
Summary:
- Tone Production
- Students often succeed with producing good tone on the headjoint.
- This tone suffers on the complete instrument.
- Students wonder if it’s their fingers or lips
- Creating A Consistent Tone
- Focus on embouchure
- Lips closed around a straw to create a stream of air
- Use a mirror
- Stretching to hold the instrument can cause a shift in embouchure
- Concentrate on hand position and extension of the arms
- Make sure fingers are solidly on the keys
- Don’t let fingers rest on trill keys
Crossing Over: How Applying Vocal Practices Can Help Us To "Sing" With Our Flutes - Mary L. McNally
Citation:McNally, Mary L., Crossing Over: How Applying Vocal Practices Can Help Us “Sing” With Our Flutes. The Pedagogy Project, May 2011 (accessed October 6, 2012),http://thepedagogyproject.pbworks.com/w/page/39853659/Crossing%20Over%3A%20How%20applying%20vocal%20practices%20can%20help%20us%20to%20“sing”%20with%20our%20flutes
Article Title:Crossing Over: How Applying Vocal Practices Can Help Us “Sing” With Our Flutes
Author: Mary L. McNally
Magazine or Journal Title:The Pedagogy Project
Summary:
Article Title:Crossing Over: How Applying Vocal Practices Can Help Us “Sing” With Our Flutes
Author: Mary L. McNally
Magazine or Journal Title:The Pedagogy Project
Summary:
- Flute and the Voice
- Both the voice and flute share similar qualities
- Freeness and flexible lips are key to both
- Opening resonators of the mouth and throat are also essential
- Quantz dedicated part of his book to singing
- Embouchure
- Lips, mouth, and articulators are important for singing and playing
- Jaw, tongue, teeth, lips, soft and hard palates, upper gum line, and glottis
- All of these can be used to play the flute, but some will muddy the tone due
The Physical Flute: reviewing a classic - Laura Lentz
Citation: Lentz, Laura, The Physical Flute: reviewing a classic. Innovative Ideas in Performance and Pedagogy (IPAP), Mar. 2011 (accessed October 6, 2012),http://innovativeperformanceandpedagogy.wordpress.com/2011/03/21/the-physical-flute-reviewing-a-classic/
Article Title: The Physical Flute: reviewing a classic
Author: Laura Lentz
Magazine or Journal Title:Innovative Ideas in Performance and Pedagogy (IPAP)
Summary:
Article Title: The Physical Flute: reviewing a classic
Author: Laura Lentz
Magazine or Journal Title:Innovative Ideas in Performance and Pedagogy (IPAP)
Summary:
- Body Mapping
- Musicians must be aware of their bodies and how they move while playing an instrument as well as how they move in daily life.
- The Physical Flute
- Author: Fiona Wilkinson
- This resource provides exercises for flutists so that they may become more aware of their body while working towards freedom and ease of movement.
- Each part of the body must be considered
- Legs, hips, back, neck, face torso, breathing apparatus, etc.
- It is important to utilize these sorts of exercises with students so that they can have an understanding of their body and movement.
- This leads to better performance and informed musicianship.
A Guide to Better Flute INtonation - Bradley Garner
Citation: Garner, Bradley, A Guide to Better Flute Intonation. The Instrumentalist, Sept. 2011, Vol. 66, no. 2, pp. 36-38.
Article Title: A Guide to Better Flute Intonation
Author: Bradley Garner
Magazine or Journal Title: The Instrumentalist
Summary:
Article Title: A Guide to Better Flute Intonation
Author: Bradley Garner
Magazine or Journal Title: The Instrumentalist
Summary:
- Intonation
- Not all flutes are built the same
- None are built perfectly in tune
- Player must adjust for each note
- The Basics
- Flute can be tuned higher than 440 when necessary
- Headjoint should not be pushed in the whole way
- Distortion will occur when pulling the headjoint out too far
- Flute will go flat
- Check yourself with 3 octaves of D
- Use a tuner and adjust
- Misalignment of the headjoint also affects intonation
- Should be in line with closest key to headjoint
- Incorrect fingerings also affect intonation
- Third Octave Alteration
- Examples provided include optional keys to use on specific notes that will improve tuning
A Picture Is Worht 10,000 Words - Patricia George
Citation: George, Patricia, A Picture is Worth 10,000 Words. The Instrumentalist, Nov. 2011, pp. 33-35.
Article Title: A Picture is Worth 10,000 Words
Author: Patricia George
Magazine or Journal Title: The Instrumentalist
Summary:
Article Title: A Picture is Worth 10,000 Words
Author: Patricia George
Magazine or Journal Title: The Instrumentalist
Summary:
- Where to Balance the Flute
- Have the flute touch on side of left index finger
- Could cause pressure on nerves in finger
- Try balancing about the first knuckle
- Left Thumb
- Should be straight
- Bent thumbs create tension
- Wrist becomes compromised
- Bottom of thumb key touches crease of left thumb
- Right Thumb
- Think soda can
- Place thumb where it is most comfortable
- Move it towards pinky finger when playing on footjoint
- Right-Hand Knuckle Height
- To play fast, keep knuckle height equal to keys
- Setting the Right Hand
- Place the E finger first and then set the fingers
- Wrists
- Palms toward ceiling
- Don’t let the wrists go flat
- Angle
- Find the sweet spot
- Adjust height and angle as necessary
Flute Teaching the Suzuki Way - Diana Dickerson
Citation: Dickerson, Diana, Flute Teaching the Suzuki Way. Flute, June 2011, Vol. 30, no. 2, pp. 43-47.
Article Title: Flute Teaching the Suzuki Way
Author: Diana Dickerson
Magazine or Journal Title: Flute
Summary:
Article Title: Flute Teaching the Suzuki Way
Author: Diana Dickerson
Magazine or Journal Title: Flute
Summary:
- Suzuki
- Method is for all instruments
- Parents come to lessons
- Works with child at home to practice
- Takes notes at lessons
- Learns before and/or with child
- Rote learning
- Utilizes classical repertoire
- Graduated structure
- Group Lessons
- Social growth
- Scope
- Learning for every child
- Nurture instead of nature
- Works towards memorization