Playing Flute in Small Groups

Flutists have a lot of alone time - practicing our flute-playing skills, developing our flute sound, preparing pieces for our next lesson…  We spend many hours away from others when we’re dedicated to becoming better at playing flute.  Sometimes it’s important to play music with others.

Playing flute with others

Alan Weiss & Ben Smolen play duets at Flute World in San Francisco on 5/10/19

Playing in a chamber ensemble requires the same attention, focus, and abilities as playing alone but brings in additional excitement and challenges.  Chamber ensembles are usually groups of two to possibly eleven- with one player per part (although sometimes parts are doubled for various reasons). While performing pieces there is usually no conductor, however somebody is responsible for starting and stopping the group, leading the group through passages that slow down or speed up, and more.  The subtle motions these players have are often not visible to the audience.

In chamber music the important sound is that of the whole ensemble, not just that of a solo player.  It is team work and a team production. Each player’s part is important, but the piece is incomplete without all parts interacting. It is with the other members of your group that you produce a new and complete creation that you cannot get on your own.  This is the joy of playing together.

If you play in a musical team –a duet, trio, quartet, quintet, sextet, septet, octet, or nonet- you have shared leadership responsibilities in addition to the responsibility of knowing your own part. These responsibilities vary.  You may know of others that should be added to the following list:

  

Responsibilities of musicians in small musical groups:  

• researching and acquiring appropriate musical selections  (You’ll want to consider the type and number of instruments in the group as well as the ability levels of the members. Someone needs to find music at a library or contribute to the music purchase.)
• assigning and distributing parts  (If more than one player plays the same instrument, It is considerate to ask what part they might like to play and to make arrangements so members are happy with the parts they get.)
•  scheduling rehearsal time
•  finding or providing rehearsal space and a performance venue
• researching and sharing information beneficial to the performance and enjoyment of the piece
• arriving at all rehearsals and performances promptly
• coming prepared to rehearsals by knowing your part
• working together equally, sharing and listening to opinions, and having the same goal  (Is the goal to sightread?  To play together for fun?  To prepare for a performance?)
• being willing to assume, share, and rotate group and leader responsibilities 
• understanding that each member of the group will be a leader/coach at one time or another

Start looking for other flutists and ask around to see if anyone is interested in meeting with you to play ensemble music.  But don’t stop with flutes.  Ask your other musician friends also.  There may be ensemble music available for you.  Playing in small musical groups is a fun and valuable experience, so go for it!

Take some time to browse the ensemble music sections of libraries and online music stores.  Flute music for two, three, or four flutists is readily available at various levels.  You can find music written for four flutes with options to add more (“expandable quartets”).  There are flute ensembles that include alto flute or bass flute parts. You can find duets for flute and clarinet, flute and piano, as well as music with flexible instrumentation (where parts are available for different instruments), and more.

Tips for playing with others in chamber ensembles: 

Individual Responsibilities: 

1. Practice your own part before rehearsing with others. 
2. Learn which notes on your own instrument are in or out of tune.  (No instrument is perfectly in tune with itself…) 
3. Come to rehearsal on time with a friendly attitude willing to work with others.

Group Member Responsibilities: 

1. Allow time to socialize before or after you rehearse.  Learning about your fellow musicians will develop relationships, make the work more fun, build a better team, create a more enjoyable experience, and produce better music!
2. Warm up on your own, or play with the group a bit to warm up.  Then tune with the others.   You may wish to use a tuner for all members, or choose one member to play a note and tune to that person.
3. Listen while you play.  Listen for rhythms, main melodies, counter melodies, harmonies, difficult intonation spots, patterns, etc.  Try to match styles, articulations, and phrasings of your group members.
4. Be respectful, friendly, and willing to ask to play certain sections if you want to do such things as
1. listen carefully to what’s happening in the phrase or piece 
2. work out rhythmic sections for clarity
3. hear important melodic lines and practice supporting them, rather than covering them up
5. And don’t forget- thank your fellow ensemble members for the experience, privilege, and the fun!   

Two happy flutists!

Using Your Tongue While Playing Flute

Isn’t the tongue a strange thing?  Mine seems to have a mind of its own.  When I get my teeth cleaned it gets in the way of the dental hygienist by chasing hand-held mirrors, scrapers, and polishers.  The tongue is important because it helps us chew, swallow, speak, and taste.  It's unique in that it is the only muscle not connected at both ends to bone.  

And that’s when it’s handy for flute-playing. 

We use the tongue to create a clear, clean start to our sound. When we discuss the use of the tongue, we call it “tonguing”.  Some of the tonguing techniques we use for flute include single-tonguing, double tonguing, triple tonguing, flutter tonguing, and other special effects created and practiced by flutists and composers who seem intrigued by this unusual muscle and the sounds we get with its creative use. 

 

Tonguing for beginning flutists

When we say “blow into the flute”, you may think that you should blow like you’re blowing out a candle, or fogging up a mirror with your breath (similar to an unpronounced Hoo” or “Hah”).  If you can’t get a sound anyway else, that’s a start.  But it is used rarely in flute playing. If the composer wanted the flutist to start the sound with a “Hah”, there would have to be special written instructions.  Otherwise it is assumed that all sounds produced on the flute begin with the tongue releasing the air stream (as in “Tah”). 

So, if you’re just starting out and you can’t start the sound with your tongue yet, come back to that as soon as you can get a sound on your flute.  You don’t want to develop the habit of starting your sound with a “Hoo” or “Hah”.

Introduction/Review of single tonguing on the flute

The basic, single tongue on flute is used most of the time.  When a passage is too fast for the single tonguing to be even and articulated clearly, other articulations might be used.  

Here are some tips for single tonguing: 

 

1. Get your breath and lip formation ready.  Release the breath from your mouth cavity with a “tah”, a “too”, or maybe a “tuh”.  Your tongue tip will touch the back of your top teeth.  (This exact spot may move slightly depending on the highness/lowness of the note and your own unique tongue.)
2. Start the tone with your tongue, but stop the tone by stopping the flow of breath.  (You may notice that you use your abdominal muscles to stop the air stream.)  Do not end the tone with another “t”, like “taht” or “toot”. (This could be used as a special effect but is not normal flute technique.) 
3. Check to be sure you are using your tongue, not your lips, to start the note. (If you’re using your lips you might be forming a “pah”, not the desired “tah”.)
4. Check to be sure you are using your tongue, not your throat, to start the note.  (If you’re using your throat/glottis, you might be starting the note with something like “eh”, instead of the desired “tah”.)
5. When you single-tongue, try to make the tongue attack the same way for all of the notes.  If a composer wants any of the single-tongued notes to sound different (louder, softer, connected) it will be marked.  Otherwise, again, it is assumed you will tongue all of the notes in the same manner.
6. If you have trouble playing the lowest or highest notes with a “tah” sound, experiment with “tew”, “dah” and “dew” syllable formations to see if that helps.  Remember to keep your throat as open as possible- that’s why the “tah” is often suggested. 

Double tonguing on the flute

You may find musical passages that require such speed that your single tonguing becomes inconsistent and uneven.  If you’ve mastered the single tongue, then it’s probably time to use the double tongue.  Double tonguing is used when the notes come in groups of twos, fours, and other multiples of two.  It uses the tip of the tongue and a “tah” (or “tew”) syllable in partnership with a “kah” (or “kew”) syllable, which is created a bit farther back on the tongue. 

For the following practice, you can use scales, a method book for flute that has tonguing/articulation exercises, or excerpts from music you are learning or reviewing.

 

1. Practice starting the notes with “kah” only, to become proficient with getting a clear attack. To begin with, work in the middle range.  
2. Practice the “tah-kah tah-kah” pattern slowly at first, then increase the tempo gradually, only moving up in speed after you can play the pattern evenly.  Start with repeated notes, moving to ascending or descending patterns as you become more skilled.
3. Practice reversing that pattern to help develop your ability to play the notes evenly:  “kah-tah kah-tah”.  This is for practice only, when you play you will use “tah” on the strong divisions of beats.
4. Try numbers 1, 2, and 3 above, but for number 1, use “gah”.  For number 2, use  “dah-gah dah-gah” , and for number 3 use “gah-dah gah-dah”.  (There may come a time or a range of notes for which you choose to use the “d” and “g” instead of “t” and “k”).
5. Now experiment and use different vowel sounds (how about “toh-koh”,”doh-goh”,  “tee-kee”, “dee-gee”) in addition to “tah-kah” and “tew-kew”.  Listen to your sound.  Which sounds the most clear?  Think about your throat and mouth cavity.  Which vowel sound opens up the throat the most?

At this point, having a private teacher may be helpful.  He or she can stand back and listen to your tonguing and tell you when it is most clear and resonant.  If you don’t have a private teacher, remember to keep your throat open and create a clear, even start to your double-tongued notes. 

Triple tonguing on the flute 

Triple tonguing is used when the note passage is too rapid for you to use single tongue clearly and evenly.  It’s used when the notes come in groups of threes or multiples of three.  

There are three possible ways to triple tongue notes, each with both positive and negative qualities.  For convenience I will label them with the starting consonant only. (Remember, though, that the mouth cavity and the throat are affected by the vowel sound you shape which, in turn, affects the tone quality of the notes.)

1.  T-K-T T-K-T:  This is a common triple tongue, but sometimes uneven because of the two “T”’s next to each other.  
2. T-K-T K-T-K:  Did you notice that this looks like double tonguing?  What’s different is that you need to mentally emphasize the “k” that begins the second group of three.
3. T-D-K T-D-K:  This third possibility is mentioned by Edwin Putnik in The Art of Flute Playing.  I’ve found that the other two possibilities are sufficient and haven’t been able to master this tonguing.  If you do this, please leave a comment below and tell me your experiences!

You should practice the first two methods carefully.  Depending on the musical passage, you may incorporate both.  You can use scale patterns to practice if you don’t have any specific triple tonguing exercises.

Flutter Tonguing on the flute

Ah…this is a rolled R action and is a special effect.  If you are supposed to flutter tongue, It will be marked, probably with “flutter”, or 3 slashes through the note stem, or “FL”.  Before attempting it on flute, you may need to just practice rolling your “R”s for as long as you can. You’ll want to have enough air forcing through to help the tip of your tongue flutter rapidly.

Some things you can try: 

 

1. Without your flute, try forming a “Tr” or “Dr” shape.  Force enough air through your mouth cavity over your tongue and see if it r-r-r-rolls.  
2. Without your flute, form your playing embouchure, put your hand about 4 inches in front of your mouth, and try r-r-r-rolling your tongue to get your flutter.  Direct the air up and down your hand so you learn control.  
3. If you can flutter tongue without your flute, now get ready to play.  Find a middle range note, then a higher note, and finally a lower note.  Flutter tongue for as long as you can on each note.  

Other Ways To Start Your Flute Tone?

Come back later when I discuss special effects in a separate blog post.

 

Have you tried these things?  Can you do it?  I’m excited and would like to hear how you did.  Send me a comment and share your thoughts!

How To Sit and Stand When You Play the Flute

Do you get physically tired when you play the flute? Is your neck or back sore?  Are your shoulders getting tired?  Chances are you’re tensing when you play and part of that tension is probably coming from the way that you are standing or sitting. 

The position you take to play the transverse flute (that’s the one that is held sideways) is not a natural pose.  You’ve got to balance the flute in your hands to the side, keep your elbows away from your body, keep your shoulders fairly level while the left one goes forward a bit and the right one goes backwards a bit, turn your head a bit to the left, and keep your throat open.  You can’t slump or bend your head down too far... 

Oh my. So many things to think about.  It’s an awkward position that we have to make comfortable.  We have to be mindful to use the correct posture and reduce tension so we don’t injure ourselves.  There are musicians who have experienced injuries related to the repetitive motions and the tension that often goes along with perfecting the playing of an instrument.

Ten Steps to Evaluate How You Hold the Flute:

1. Do I bring the flute up to my lips or is my head going down to meet the flute?  (Keep your head fairly straight so that you are looking straight ahead then bring the flute all the way up to your mouth.)
2. Are my shoulders at the same level?  (They should be fairly level- if one is significantly higher than the other you may experience tension and later pain or aching.)
3. Are my elbows away from my body? (If your flute is horizontal, they probably are and should be.  If your flute is at a large angle, one or both elbows may be too close to your body.  If your elbows are not away from your body, you might develop neck or shoulder stiffness or pain.
4. When standing, can I feel the weight of my body spread evenly from the pad of my toes to my heels?  (Balancing on the heel can lead to tension and tight calf muscles.)
5. When sitting with my feet flat on the floor, can I feel the weight of my body spread evenly over my “sitting bones” (also known as “sitz bones” or “rocker bones”)?  These are the two bumpy bones under your rear end, one on the left and one on the right.
6. When standing, are my knees relaxed?   (They should not be locked in place.  Find the best spot by locking them, bending them, and then finding the happy medium, just before they lock into place.)
7. When sitting with my feet flat on the floor, are my knees, legs, and rear end relaxed?  You don't want any extra muscular tension.
8. Is my torso balanced over my hips and is my head erect and relaxed? (Too many times we’ve tried to have correct posture by standing up straight and being very tense. Try imagining your back as widening out and lengthening up.  Let your skeleton hold up your body.  Don’t worry about keeping your tummy tucked in.  You’ll need to let it expand as you breathe.)
9. Can I move while in this position?  Remember- your skeleton, not your muscles, holds up your body. Do a muscle check from your head to your toes.  Your muscles should be flexible and relaxed.
10. Now repeat all the steps while you play something on the flute.  As you consider what is happening with your posture and muscles, listen to your sound.  Is it affected by your standing/sitting position?

Your flute-playing posture affects many things

The way you stand or sit while playing the flute can affect how much air you can breathe in, how well you can control the air going out, your embouchure formation,  how the air is directed into the embouchure hole of the flute, and the freedom of your fingers to move quickly, smoothly, and evenly.  It is well worth your time, whether you are a beginning or continuing flutist, to evaluate your flute-playing posture.  It will help to experiment with the posture that is best for you.

Should the flute be held parallel to the floor?

Some flutists often have questions about whether the flute has to be exactly horizontal and if there is one perfect posture.  To find the answer to this, you (with your teacher’s guidance, if you have one) have to look carefully at yourself. 

• For posture and stamina and to ward away muscle tension when playing flute, you want your body to be balanced, relaxed, and flexible.
•  For a good, resonant sound, you need to have the flute parallel with the junction of your lips; the middle of the hole formed by your lips should match up with the middle of the embouchure hole of the flute.  This means that if your head tilts, the flute will probably need to tilt.  But, if you experience fatigue in the neck or back, you may need to adjust the angle of the flute and your head toward a more horizontal position.
• For good breath control you need to have your airway as open as possible- you don’t want to close it off by bending your neck.

Observe the posture of other flutists:

You’ll find that many successful flutists do/did not hold the flute exactly parallel to the floor: Julius Baker, Robert Dick, James Galway, Bobbi Humphrey, Amy Porter, Jean Pierre Rampal,  Carol Wincenc… They’ve managed to find their personal posture and unique sound.

Here’s an enjoyable seven-minute video about flute posture by flutist Nina Perlove.

Learn more about posture for flute players

 During your search for more information, check our these four resources:

1.  The Alexander Technique- a system of body awareness for better posture and movement
2.  Investigate balance, relaxation, some Yoga exercises and more in this pdf (hopefully it will be available for a while).
3. Information about yoga and musicians
4. Andover Educators- Teaching the Art of Movement in Music.  You’ll find resources on body mapping and more.

 Leave a comment and let me know what you think!

How to hold the flute

Are you wondering if you're holding the flute correctly?  First of all, think differently.  The flute is not held, it is balanced.  Balancing the flute gives your fingers freedom to move so they can press down and lift off keys easily with no awkward movements. 

The four balance points on the flute

Check to see if you're balancing and not holding the flute.  Put the flute up to your lips.  That's the first balance point. (Later you'll notice that your right hand pushes outward and it secures the flute against your chin/lip area.)

In this photo three of the four balance points are circled.  The missing balance point is the chin/lip area.

The flute should be resting at the base of your index finger of your left hand and your index finger should be free to go up and down.  Don't hold the flute with any of your left hand fingers.  When it rests at the base of your left index finger, you're using the second balance point.  

Now concentrate on your right hand.  The flute should be resting on your thumb, probably between the tip and the first joint.  (I say probably because each flutist has unique hands and fingers.)  The thumb should be slightly bent and balancing the flute near the area under the index and middle fingers.

That's the third balance point.

Your left hand baby finger (finger #4 in flutespeak) should be on or depressing the Eb key. That's the fourth balance point and this is where you will notice that the gentle pushing of the right arm toward the front is important.  There are times when you play notes that do not use the Eb key.   (D , C#, C, (& B if you have the B key) below the staff,  D on the 4th line of the staff, and the notes starting with Bb on the 5th line above the staff and ascending.) If you are not balancing the flute, it may roll around as you attempt to play those notes.

Experiment with holding balancing the flute now. 

Prepare to play your flute and pretend to play a note.  Look in a mirror to see what's going on.  Think about the four balance points (1.  lips/chin, 2.  base of left hand index finger, 3.  right hand thumb, and 4. right hand baby finger).  Now let's experiment and perhaps tweak your flute balance a bit:

     1.  Move your right hand thumb to the left, then to the right, bend it, straighten it, find a spot where it's comfortable and slightly bent.

     2.  Raise and lower your left elbow.  What happens to the shape of your left hand fingers when you adjust your elbow position? They should be slightly arched.   Where is the most comfortable spot for your elbow?  (Your elbow should not be resting against your body.)

     3.  Hold the flute parallel to the floor, then experiment by tilting the foot end slightly down then up.  Look in the mirror.  What happens to the flute position on your lips when you move the flute?  Basically the center of the hole in your lips should match with the center of the hole in the flute.  The imaginary line formed where your lips meet together should be parallel with an imaginary line that runs along the hole of the flute.

     4.  Raise all your fingers up except your right hand baby finger, letting the flute balance. Put them all onto their assigned keys.  Raise them again.  What happens?  Your goal is to prevent the flute from rolling.

     5.  Balance the flute and prepare to play.  (Remember the four balance points.)  Depress the Eb key (right hand baby finger), lift other fingers off of their keys, and play that note (it's probably a C#).  While playing that note, wiggle your raised fingers to make sure it's balanced.  

Check your flute balance carefully while looking in a mirror:

     1.  Head and Right Arm
Balance your flute.  Play a note with all but your right hand baby finger lifted off the keys.  Is your head turned slightly to the left in comparison with your body? It should be.  This allows your right arm to be in a more natural, comfortable position.  Your right arm can push forward a bit to help your flute balance.  Listen to the sound you make.

     2.  Left Elbow and Left Index finger
Play a note with all but your right hand baby finger lifted off the keys.  Move your left elbow up and down.  Remember to keep the balance point at the base of your left index finger which might move as you raise/lower your left elbow.  Your left elbow should be away from your body, slightly raised, but comfortable.  Listen to any changes in the sound you make.

     3.  Fingers
Try balancing the flute and playing that same note (C#, only the right hand baby finger down).  Concentrate on gently curving your fingers over their assigned keys, ready to play, but not depressed.  Try to keep them relaxed. 

     4.  Right Hand, Right Elbow, Right Arm
When you play the C# (no fingers down except the right hand baby finger), the flute is balancing on your slightly bent right hand thumb and your right hand baby finger is depressing the Eb key.  Your three other fingers should be gently curved, the pads (not the tips) of those fingers should be ready and able to press down and lift off the keys. 

Check your right hand carefully.  If your fingers lean against or touch the key rod (that long tubey thing), as shown in this photo, work on changing your hand position.  

   
Your right elbow should be comfortable but away from your body. Experiment by pushing your right arm forward and back, finding a comfortable position where the flute remains balanced.

Look closely in the mirror and see what happens to your mouth and lips when you move your right arm forward and backward.

Now listen carefully.  When you play the C# (no fingers except the right hand baby down) and you move your right arm forward and backward, at what position do you get the biggest sound?  At what point does the sound come out the easiest?  At what point is the sound the most pure?  That may be your ideal position.

     5.  Upper Body and Head
Don't slump or bend your neck.  This could affect your breathing and the quality of your flute tone.  Now experiment with your posture while standing, then while sitting.  If you bend your neck forward can you inhale enough air quickly?  If not, your tone may be weak, and you may not be able to play for very long without taking another breath.
  
Try the same thing, but slump by bending your back forward.  Breathing in and out will be difficult.  Supporting the air as you exhale will be difficult.  Your back and neck may get tired quickly.

This takes some concentration doesn't it?  When you finish these experiments, pat yourself on the back for a job well done.  A lot of this will come back to you as you play your flute for work or fun and you'll be on your way to evolving your flute practice and abilities!  Good job!

Move those flute fingers!

Playing flute music (also known as flute literature) will be more enjoyable if you can move your fingers smoothly and quickly.  Flutists of all levels have tricky note passages at times requiring special attention so those parts will become smooth and musical. These tricky sections are described as technically hard, and when we work at technically hard passages we say we are developing our flute technique.

Signs of a technically difficult piece for you: 

1. You have to slow down to play the notes correctly, evenly, and musically.
2. You stumble a bit but keep barging through until you get to a place that’s easy for you to play.
3. You don’t like this section and would rather not play it.
4. When you play, or imagine playing, this section for someone else, you get nervous, anxious, scared.
5. You don’t like the flute piece mainly because of a certain section.
6. You want to give up.

There are flute method books that will provide daily exercises to develop your finger movement so you will be prepared for similar sections in some of the fun flute pieces you play.  You can find flute books with etudes (also known as studies) that will contain note phrases that will build your technical abilities.  You can also take a difficult section from a piece you’re trying to learn and turn that into a technical exercise.

Try this:  Work on a technically hard section of your flute piece

Find a tricky passage from a piece you’re learning.  Your goal is to make this section smooth and comfortable by studying it and playing it in different ways.  When you’re done and ready to perform, you want your listeners to think it sounds easy!

This section is going to become a stand-alone exercise for you.  You’ll play it as a separate study without playing from the beginning of the piece or going all the way to the end. 

Did you find your tricky passage? 

Here are some things you can do:

1.  Before you pick up your flute, say the names of the notes, including any sharps, flats, or naturals.

2.  Repeat the note names (as above) but try to say them (or sing them) as close as possible to the written rhythm.

3.  Now you can pick up your flute.  Play the written rhythm slowly at a tempo (speed) where you can play correctly.  If you use a metronome, write down this starting tempo. (During later practice sessions you’ll gradually increase the speed as you practice and it will be handy to know at what tempos you’ve already worked.

4.  Play the passage using different rhythms (don’t worry about the real written rhythm).  See the example in the photo.

•      Long-short pattern
•      Short-long pattern

5.  Now try playing the passage using different articulations (starting notes with your tongue “t” or slurring with air between the notes, no “t” ) See the example in the photo.

•      Tongue slur-tongue-tongue    (T-uh  T T )
•      Tongue Tongue Tongue-slur   (T  T  T-uh)
•      Tongue Tongue-slur Tongue   (T  T-uh  T )
•      Tongue –slur Tongue-slur       (T-uh  T-uh) 

6.  Next, try that passage again at the tempo you want and with the written articulations.  Not there yet?  Put it on your list for practice work tomorrow and go through the same type of technical strategies.

7. Finally, if you’d like to play through the whole piece and see how it fits, go for it!


Please remember that you will make progress over time- it won’t happen right away.  But if you keep working you’ll get there.  And you’ll feel great about it!

Flute Tone: The Sound You Make

Flute tone is also known as the sound you get when you blow into the flute. Sometimes it may seem to take a long time before you can get a clear, pure sound. But remember and be patient:  the more you try, the better you get.

As you continue on flute, you'll see that many things affect the tone:  the condition of your flute, how well you can breathe that day, how your lips are working, how dry your mouth is, even your mental energy.

To develop control of a pure, crisp flute sound throughout all of the low, medium, and high notes, we have exercises that practice just playing long tones.  Although it sounds simple (and maybe boring) we actually do more than blow air into that mouthpiece.  We think of how we're controlling the air (with abdominal muscles, facial muscles, throat...) and the way we line up our lips with the hole on the mouthpiece.  We listen to see if we're playing "in tune" (maybe comparing it with an electronic tuner).  We listen to what the sound is like:  strong, weak, airy, forced, pure, resonant...

Someone who hears us (a household member, a neighbor, your cat?) may just hear us taking a breath and playing a note for as long as we can.  But we're actually very active even though it doesn't look or sound like it!  Playing "long tones" is an important part of practicing.

Try this long tone study on your flute:  

It does help to have a teacher demonstrate, make suggestions, and guide you through a book or printed tone studies to develop your tone.

But if you don't have a teacher just yet, you can still work on getting a beautiful tone.  Here are some ideas:  

1. Start on a note that you think sounds pure and speaks easily.  Many flutists recommend starting on a B above the staff (for the middle range of the flute) or B on the third line of the staff (for the lower register of the flute).  But any note is good for a start.  
2. Take a deep breath, form your lips, and blow.  Try to hold that as long as possible.
3. While holding the sound, listen to it.  Experiment with the following:

• Changing the way you form your mouth, lips, and the hole formed between your upper and lower lips (also known as "embouchure")
• Pushing your right arm forward and backward
• Rolling the mouthpiece away from your mouth, then back again
• Placing the flute higher and lower on your lips
• Changing your body posture
• Tightening and relaxing your abdominal muscles.

When you find the best sound you can make today, breathe.  Don't go away,  you're not done yet!  

Now start on that note, then descend or ascend to a different note, making the smoothest connection between the two.  (Think about blowing between the notes and keeping that same sound quality that your made on the first note.) 

Hold that note.  Enjoy it.  Then breathe and repeat, moving from that second note to a third.

OK- that's it for now.  Remember to play for fun, then spend some serious time developing the sound you get on your flute.

Start your pursuit of the flute!

Welcome!

If you've journeyed to this page, I'm pretty sure you're interested in learning a bit about playing the flute.  Hopefully you'll find something useful that can help you maneuver your river of creativity!

I teach students of all ages and hope to provide something above and beyond my private and small group flute lessons. Because of this, especially if I'm keeping a particular student in mind, you may find that I'm writing to readers of different levels.  I hope the topics, tips, and things to try and think about will still help you.

Are you new to flute-playing?  Are you a continuing flute student?  Have you just dusted off your flute and are now trying to remember how to play the thing?  Sometimes our initiative, our energy, and our desire just isn't enough when we've got SO many other things to do. Sometimes there's no time to practice.  Sometimes we just don't feel like practicing anyway.  So here's a pep talk.

Play flute more to have more fun!

To enjoy playing the flute, you have to develop basic skills.  The more skills you develop the more pleasure you'll get out of playing the flute. 

But for many people, working on some things is, well...work. 
And not play.

So you have to trick yourself into making the time to practice.

Try these flute practice tricks:

1. Play flute every day.  You should play often to feel good about playing flute.  This practice time might be very short or long, simple or complex, but you need to attempt to play everyday.
2. If you don't play every day, don't fret.  Start now.
3. Tell yourself you will only play 5 minutes and stop if you can't go on.  Do your five minutes and push yourself to do five more.

(One step at a time.)

Now try this when you don't feel like playing the flute:  

1. Once you have your flute together choose something you enjoy playing. Check the clock or set a timer.  Play that fun thing (or fun things) for  five minutes. 
2. When that time is up, go for five more minutes.    This time, choose a small something to work on:  
• more fun things
• long tones- just play different tones as long as you can in one breath
• a small, challenging part of your fun piece- play it slowly, play it with different rhythms, play it with different articulations
3. When that time is up, check yourself.  Do you feel like you have the mental energy and mood to continue?  If so, great! Go for five more minutes. If not, there's something to do before you put your flute away:  play through your fun thing again.  Listen to yourself, make it as beautiful as you can, have fun.
4. Finally, write a brief list of things for you to practice tomorrow.  

At this point you probably completed about fifteen minutes (or more!) of flute practice.  Congratulate yourself!  If you're still not in the mood to be doing this, congratulate yourself anyway.  That practice time that you "forced" yourself to do will make it easier next time.  And more fun!

Now- do something else and see if you can squeeze in more time later today.  

Then start again tomorrow.

You can do it!