![]() ![]() As you’ll see from the copious disclaimers at the start of the article, I didn’t feel qualified to write it, but I was moved, as there seemed to be somewhat of a vacuum out there. ![]() Way back in 2010, I was moved to write an article on the topic. Which then brings us to where to find that advice. I can’t help you with your shortest-period-to-good-tone question, other than perhaps to state that the bleeding obvious - the period will be much shortened if the student can get the best advice on how to approach the tone question. Re: Time to develop the “hard” Irish flute tone Even now, if I don’t play flute for a few months, it takes me a week or so of daily playing to be able to get through an entire set without my lips turning to jello. It didn’t take long to figure it out, but it did take some considerable time to physically be able to sustain the new style for more than a tune or two. The challenge was identifying the required changes and then consistently applying them, plus strengthening the lips in new ways to adapt to the new requirements for the style. Someone without the woodwind training would not a clue about or even know how to begin to describe what they were struggling with. No, I don’t agree with you at all on that AB, because much as an experienced dancer can probably learn a new style of dance much easier than a non-dancer, a woodwind player can more easily adapt to the requirements of a new instrument than one who has zero experience in what is physically required.Īs a classical flute player, you have a lot of strength and distinctions in the shape of your lips and mouth, as well as airflow control and use of the diaphragm and abdominal muscles for tonal support.
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