SOUND AND GRAVITY

We flutists have something very beautiful to share with the world. Our sound. It is a personal business card and distinguishes us from other flutists. As much as we can try to imitate our teachers, mentors or idols, our sound will be unique to us. So let us spend some time to unfold its full potential. Today we are going to look at our sound in relation to gravity.

Sound and gravity



Our center of gravity
should be beneath our diaphragm. Have you ever thought about that? Where is yours? I am asking you, adding a new part to the total system (body and flute) could change its location. In other words, I often see my students shift it to somewhere in front of them. Therefore, they try to reach it by stretching their neck in the

direction of the music stand.

Gravity dance


However, the above mentioned shifting of the gravity center leads to poor posture. Especially the bending of the air column will negatively affect their sound quality. Therefore, I propose a unique exercise to get your center of gravity inside your body. Furthermore, it will be closer to your support and engine of your sound. After that, the imagination of it in the right place will boost your energy.

gravity danceIn order to do that we should align our center with our movements. This will automatically happen when, while playing you start kneeling down. Like a slow squad! However, do not raise your heals from the ground. In other words, the whole bottom of your feet should remain attached to the ground while you perform the controlled downward movement.

 

Are you able to do that without tipping over? Slowly and steadily bend your knees and do not stop playing. You might consider playing something you know by heart so you can concentrate on the sound, instead of reading the music. In fact, the sound should remain stable and steady. Continue to play beautifully smooth while you move.

This works best when you play a piece which has a lot of legato passages.

 

 

Defying gravity


We are not finished yet, my friends! Now comes the interesting part. When you are completely descended, still on your feet, you feel your back stretch and elongate. Moreover, you might feel your shoulder blades divide and make space. All this space can now be filled with air! Therefore, you have gained some liters. Be sure, you do not lose them in the front chest part though. In other words, feel your chest and abdomen expand against your knees. Feel the resistance and enjoy your energy.

Can you still play beautifully in this uncomfortable position? Just wait, until you can play comfortably again and see how much your sound improved! Slowly move up again and continue playing.

Can you hear and feel the difference now?

If this is hard for you, try the squad exercise without playing at first!

This exercise combines two important factors. Moving up and down you re-align your gravity center and learn how to stand in a stable and supportive position. Moreover, when you are at the lowest point you increase your breathing support and make more space for air and resonance.

Therefore, have fun dancing with gravity and defying it. You will learn to use the correlation of sound and gravity it to your advantage!

Going fishing – sound and gravity


Imagine throwing the bait into a still pond of water. The moment it hits the surface is a very precise instant when energy causes waves and the plumb goes further down.

Sound and gravity
This is exactly how a beautiful flute sound begins. Apart from rare cases where you wish to start in a tapering way, this image should be on your mind, when you study a clear, precise sound. It is the moment of change, between silence and sound. The moment when the lead attached to the bait changes its world from air to water. It causes even waves and energy to be carried away from the point. If the attack of the sound is not clear, the waves will be uneven and messy, the sound does not arrive pure and clean.

Throw your bait – start a sound


So what does that mean for us? Throwing the bait is an action you have to take before it hits the water. In the same way, we have to think about the sound first and prepare our support system. Our body has to be launched into the position of resonance and momentum. Only with a clean launch may a clean sound occur.

Never play without preparing. Your imagination and experience is precious, do not waste it on unclear playing. Therefore, either focus and play or rest and imagine.

But the fishing analogy has so much more to offer. Can you imagine the lead going down slower now, because the water puts up resistance, but its gravity is remains?

The core of a sound is like the plumb going down, emanating energy which is perceived as sound.

 

Set of pulleys – developing a sound


Now we have learned how to prepare a clean start of your sound. After that, we should think about how to develop and maintain it. To that end, it is very useful to imagine the plumbs decent in the water. But attaching it to a pulley and pulling something else up. However, the upward motion should only be seen as a result of the downward movement of the lead piece.

In other words, as you throw the bait and push down the plumb drop, automatically your airflow moves upwards in a controlled and productive way. As gravity pulls down, energy rises. Moreover, this concept helps you to activate the support and air system as a natural result. By imagining a gravity center of lead that pulls down, air will flow up, but you can control it and no longer waste any of it.

Don’t forget the new space that is created by the actual sound and gravity squads and use all of it when developing your sound.

Perls on a string – finish a sound

 


After attacking the sound and maintaining it we also need to close it in the same precise way. The center of the sound should be with a downward drive, heavy small center made of lead, that expands and sends rays of sound that have the power to carry far in a distinct and organized way.

pearls in sound and gravity

After that, we need to round them up and finish in an equally organized and clean manner. As a result, we will be creating perfect little spheres and be back in silence.

However, those powerful lead spheres can also be imagined as pearls on a string with the silence being the line on which those pearls are ordered.

In conclusion, this image is another very powerful tool in your mental preparation.

Improve your sound with gravity


Each one of the above described exercises with the correlated images is on its own an effective trick to unfold the full potential of your sound. However, you are free to add your own or change and embellish the provided ones.

Furthermore, you might need to adapt the ones provided to different situations, especially when adding dynamics. Sound and gravity is a useful image in providing a pearl necklace of sound to your audiance, but it doesn’t cover the aspects of transitioning through the range of dynamics that the flute offers.

Should you be interested in improving the quality of the very effective expression tool that is dynamics, you can read our correlated article here.

It provides other powerful images that you can use to have more cards in your hands. Above all, you should choose images that have a strong impact on you so that it will transform your posture and support system the most productive way to create a beautiful sound.

 

Let your color palette vibrate


Another special element that you can use when it comes to sound quality is vibrato. So far we have written two articles on the topic that you can find by clicking on the following links.

vibrato 1

vibrato 2

If you found this article helpful and enjoyed reading it, please share it with your friends on social media by using the buttons below!

In addition, we would be very interested what your ideas are on sound and gravity. What do you imagine to create a clean start and finish of your notes? How do you maintain your energy coming through your air flow? What do you imagine to control your airflow?

Please share your answers in the comment section below! They might help and inspire other users of topflute.

Thank you!

Jana

topflute

sound and gravity

BEST INTERMEDIATE FLUTES

You have been playing for a while now and you fell in love with this beautiful instrument. However, your student flute has seen better days and reached its limits. In other words, you can hear the metal and imperfections and you have outgrown it. Therefore, we are looking at the best intermediate flutes.

The best intermediate flutes


First of all, above a certain range, there are no really bad choices anymore. In fact, those were possible with student flutes, but at least it didn’t cost you a fortune. Moreover, if you wish to dive deeper into the beginner flutes, please refer to this article.

However, you have managed to overcome that first big choice and here you are wanting to know everything about the intermediate flutes. In fact, those are instruments that will accompany and hopefully facilitate you in the progress between a hopeful beginner and a dedicated professional. But if chosen well, it can also be your last flute. It depends on your final use of it. In other words, you might find a flute here, that lasts a lifetime!

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How to choose an intermediate flute


Above all, your new flute should be offering a warm and rich range of tone quality. In addition, it should be precise in response and carry the sound far. This depends much on the material. Therefore, you should look for a sterling silver flute. In other words, do not buy another nickel or nickel silver flute.

Furthermore, the flute should be stable and a little heavier. In other words, a diameter between 0.4 and 0.43 should allow you to get a vaster timbric range. Also, look for the warranty and assistance offered after buying. For instance, you might look at professional pads and a well-established brand.

Probably, you won’t need it for a few years, but look for a brand that a professional repair shop close to you can serve well. Nowadays, that is not a big problem anymore, but you might want to consider this thought. Or just go with what you like best and ship your flute for overhauls to a professional center. More on that in my flute care article.

After that, look for the offset or inline G mechanism, that you are already acquainted with from your beginner flute. However, what I suggest to change, is the C foot. You might want to goo with a B foot now. Those generally offer the gizmo key, that helps produce smooth and flexible high C””. Consider looking for a D # roll as well. This facilitates the transition from C or C# to D#. Split E goes without saying.

Some might wish for a golden lip plate, or even golden head joint. I, myself had a golden mantle on the inside of the lip plate. But there is no must. Just something my intermediate flute came with and I loved it. However, go definetely with open hole keys, you will need them!

A flute with these characteristics can easily accompany you through your whole music education to your flute degree and help you win auditions and competitions. Eventually, as a professional musician, you might want to upgrade again, but till then, you will be very well accompanied by one of the following.

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4 best intermediate flutes on topflute


Now it is your time to choose! If you get one of the following you can’t do anything wrong. Just bear in mind the things to look for that I explained one section up. After that, it all comes down to your personal preferences. But, should you have questions on anything, please ask and share through the comment section. I will be very happy to help you out!

For best-selling options, click on the pictures or description beneath. You might also find some stunning offers of pre-owned or show case flutes that are in perfect condition. Find out how to become a proud owner now!

 

Yamaha Professional 777


Yamaha Professional 777H Series Flute Offset G C# trill, split E, gizmo key 8883



Yamaha Professional 777H Series
  • entirely sterling silver head joint, body and keys
  • warm and expressive colors that only the finest silver flutes can provide
  • heat treated with Yamaha’s proprietary acoustic annealing process
  • impressive evenness of tone and response throughout all registers
  • hand-finished sterling silver head joint is a modified version of the Type A head joint
  • specially designed cut of the head joint
  • offers incredible response and an impressive dynamic range
  • 0.43mm wall thickness which for a remarkably warm and rich tone
  • standard with Straubinger Phoenix Pads, precise and consistent seal
  • lighter touch and quicker action
  • keys feature traditional pointed key arms, elegance
  • open-hole keys with pointed key arms
  • Offset G 
  • split E
  • B Foot joint
  • includes case, case cover aand cleaning rod
  • 5-year warranty, made in Japan

This flute is widely used and tested and many of my fellow students played it and enjoyed it.

But the following is the flute I played on intermediated level and still consider the best option:

Sankyo Handmade 701


 

Sankyo 701 Series Handmade Model Professional Flute Inline G / D# Roller / B Foo

Sankyo 701 Series Handmade Model
  •  all silver instrument
  • possesses a mellowness and transparency that is most characteristic of the flute
  • majestic sound, lush tone colors in the upper register that are remarkable
  • all nuances and supple dynamic changes can be easily achieved
  • both edges of the embouchure have been slightly rounded and the plate height and embouchure have been altered to allow for a larger and richer variety of tones
  • the head joint’s style is designed to offer a stable and an even sound quality across the registers
  • drawn-up tone holes
  • 0.40 mm tubing
  • 10K White Gold springs
  • inline or offline G
  • D# Roller
  • B Foot
  • handmade work of art!

 

The following flute is the intermediate version of the professional flute I play now and I highly recommend this brand:

Powell Sonare


Powell 705 Sonare Series Professional Flute B Foot / Open Hole / Inline G 190839
Powell 705 Sonare Series
  • 700 series flutes are the top of the line from Sonare
  • handmade, sterling silver, Powell Signature head joints
  • sterling silver bodies, with the Modern Powell Scale
  • Elgiloy steel alloy springs
  • french pointed arms
  • professional flute in a class all its own
  • B foot
  • open key holes
  • inline G

The following has recently been bought by a student and she is very happy with her:

Altus Handmade 1107


Altus 1107 Series Handmade Flute Offset G, Split E, C# Trill Key, Z cut headjoin

Altus 1107 Series Handmade Flute

  • exceptional hand craftsmanship
  • tonal color, and playability of Altus flutes
  • AltusBennett scale
  • stainless steel springs
  • French-pointed keys
  • elegant wood-frame French case with leatherette finish and padded nylon case cover
  • .958 Britannia silver head joint and body silver
  • offers a dark, rich color without sacrificing brilliance
  • Sterling silver-plated mechanism
  • extruded tubing with drawn and rolled tone holes
  • handmade by Shuichi Tanaka
  • Offset G
  • Split E
  • B foot
  • open holes

 

The best intermediate flutes become an extension of your body


In conclusion, at this level you can say that the best intermediate flutes become an extension of your body and should resonate with you. In addition, your body will adapt to form the cavities and air stream movements that best fit your flute. Many many hours spent together will make you a little family, and “I married mine” as you might have read in the beginners’ flute article.

Just kidding, but not far from the truth. For instance, your fingers and hands will adapt to the mechanics. Your lips will find the perfect spot and your whole body will memorize the position of every sound in its cavities and air ways. This is a wonderful feeling and will not take long, because you are going to love your new instrument.

In order to take good care of it, have a quick read through my article on flute care.

Moreover, it will be so easy to play, now that you made a beginners’ flute sing, you can play on anything. However, the flutes discussed above, offer so much quality, precision and excellence, that you will feel as if they did all the work.

At this point, I have to warn you! When I went through this rite of passage, it was so easy to play the same way with less effort, that I wouldn’t play better immediately. Therefore, don’t fall in the same trap! Explore your new flute and new possibilities and grow with it. What a wonderful thing the life with a flute can be!

Enhance your flute experience with the following suggestions from topflute:

                             on vibrato

                                     get your dynamics straight

                                                                                       become excellent

 

Best wishes,

Janie

topflute

best intermediate flutes

HOW TO USE ACAPELLA APP

For us classical chamber musicians the lock down has been a real ordeal. But also an opportunity to try new things. Miles apart, not being able to see each other and play together, we had to find another way to stay connected musically. We discovered for us how to use the acapella app.

This is who we are – Duo Fantasie

on how to use acapella app


how to use acapella appThe strength of Duo Fantasie is that we play together every day. You really get to know each other musically and personally. Moreover, you evolve together.

The best compliment we heard was “we cannot distinguish anymore if the sound comes from the flute or the piano, you play as one entity”. To learn more about our story and understand how this is possible, please read this article.

Before I explain how we used the acapella app to get a little of that magic back into our lonely lock down days,

I wish to share our top three secrets to playing well together and

Become a real Duo


1. Breathe together, even when you are not playing, imagine you play your partner’s part and breathe with it. Also, breathe with the flutist even if you play the piano, or a string instrument. Try to breathe as one. You can exercise that by playing back-to-back without seeing each other. This will help you to start and feel the other’s musical phrase and air stream.

2. Which leads us to the second secret of becoming a real musical entity: Get to know the other one’s musical ideas and learn to anticipate them. Learn to imitate and lead them into your ideas which the other one will follow. The best compliment we received was that it was impossible to distinguish from which instruments the sounds were coming, so much had we merged the voices.

3. To trust each other and learn to depend on and guide each other, you should also spend some time together without playing or practicing. Have dinner, go out, play a game, go to the beach, or in times of Covid have a coffee on zoom or Skype, participate in a Yoga or Zumba online lesson together and then talk about it, etc….do whatever you can to increment mutual trust and knowledge. Create common ground outside of musical practice and above all, HAVE FUN!

I hope our secrets inspire you. Get to know us on our Facebook page

But what you came for is

How to use acapella app


So let us get right to it. You can download a free version that allows you to record 30 sec. However, that is enough in the beginning to become acquainted with how it works. Furthermore, I should mention that it is for ipad, iPhone and mac only.

But nowadays, most of us have both and can use at least one device for this purpose.

In the beginning of how to use acapella app


When I discovered the acapella app I was desperate for finding a way to play together from a distance. I didn’t intend to record in the beginning. But there was no way whatsoever to do that with normal internet connection. Only big institutions with super fast internet can do that, play or do things simultaneously. We tried with all the video conferencing tools, but it was impossible.

So I had nearly given up, when I found this funny way of reproducing yourself many times and singing a song with 6 voices just by myself! That was quite cute and I tried to adopt it for the flute. Most classical pieces developed in much longer than 30 seconds so it didn’t make much sense.

Starting a project on how to use acapella app


I chose to play the slower parts of our Fantasies, like on Traviata and Ballo in Maschera and record 30 seconds that concluded at least one musical idea.

When you sign up, you give your contact information or use your google or Facebook account. Then you are in and can follow other peoples’ projects. Even more so, you can join collaborations with them and see open proposals of cooperation.

But we wish to explain how to start your own first project. In order to do that, you need to click on the white mics on red background and a window opens where you choose the red bar to click on “record new”. After that you have a choice between different classic options, which are not too bad! Even without going premium you can select how many windows you need and what the layout should be. Just click on your option.

A window will pop up and allow you to select the time frame. You are on a free basis and should click on the 30sec. If you play less, it will automatically cut the rest. So go with the maximum length allowed on free membership basis. Click next!

Recording on how to use acapella app


As you are the first one to record, choose the side you like by clicking on it. The system will load and prepare. Place the device where you like the view of yourself playing. Possibly that one can see you well and follow your gestures as indicators on how to record on top.

When you click the red record button in the middle, it will offer you a countdown of four to prepare. Just play and stop it on the same button. If you are ready earlier it will trim the video down to the actual time you played, otherwise it will just stop after 30sec.

Now you get the choice if you’d like to redo or continue. If it wasn’t that bad, just click on continue! At least you will be able to listen to it and learn a lot from listening to your own recording. However, most probably after that first one you figured out what sounded better and will like to redo it. No problem, just cancel on the x in the upper left angle and do it all again.

Make sure you use a piece of music where you guide and your colleague follows. No rest bars or accompaniments in your part.

Recording on top


Once you have your recording you can decide to pre edit your sound by clicking on the loudspeaker below. You might want to lower the volume just a little if it was all up and add some reverberation. If you like playing around a little you can also add filters and styles by the other two buttons below the window.

But remember that the final say has the one who last records! The next step is to click on “save and share” in the upper right angle and this will open several possibilities. You should go with collaboration and send the link via whatsapp, messenger or sms to the other musician. I had trouble with that part and always created the link with the sms function to copy and paste it in an email.

The other musician also needs to download the app on an apple device. When he or she has done that, just by clicking on the link, it will allow collaboration. Furthermore, the same project opens and by clicking on a free window recording is able to start the same way described earlier.

Only this time, you need headphones or ear bugs, to be able to listen to what was prepared for you. However, both of you should make sure to play in tune, even when apart.

Finishing a project on how to use acapella app


When the second one is satisfied and he or she is also the last one, the sound, style and filters can be edited and saved. If you want to get a last say as well, you need your colleague to send it back to you with a collaboration link, otherwise you cannot work on it anymore.

Same procedure as your sharing with him or her. When you are happy with colors, style and sound (for non pros it is best to only adjust reverberation and volume), you can save it on your camera roll and upload it wherever you please. Make sure to save it outside of the app and save a link to the finished project as well.

You can also use that link to share on social media. But if you have different channels, it is best to host it on one of them.

What to keep in mind when using the acapella app


It is not like playing together. However, it can be uplifting and create a feeling of collaboration and shade of normality. Moreover, it helps each one of you to become a better musician, because you have to be very precise and can listen to your own recordings to improve.

Choose musical pieces or parts where one of the two is in control and the other can accompany. It will take some time to get used to this way of “playing together” and be able to anticipate and imagine the other one’s musical ideas. Hopefully, you have played together for some time now and find this process easy.

The instrument that can be tuned should make sure it has tuned to the right A, especially when playing first. Then you have no reference sounds.

Last step in how to use acapella app


This brings me to our last progression, playing on our own concert recordings. As a result, we could also play music where there is not just one leader. This was so much fun that we decided to go premium, just one of us is enough. So now we can record for a longer duration and choose from the premium themes.

Thus, listening to a recording and giving a clear starting sign, like a deep breath, you can play more complex chamber music.

If the concert recording is your own, it will be easier for the other person to remember and record on your recording alone.

But what can you do in a case there is no such recording? This is the case of a double concert that was written for us to be performed for the first time this summer. “Two Souls” for flute, piano and orchestra. As it will not happen this summer, but somewhere in the unforeseeable future, we decided to take little excerpts where there is less or no orchestra and send very short recordings to the composer as a thank you.

Enlarging the collaboration to an Opera singer!


This was quite a difficult project! We had many attempts at it and many failures. In the end it is the best to record the leading voice first, even if she opposes! She can listen to a recording of her choice while she records the first part.

I had gone premium for a weeks trial, and so I prepared an empty project to ask her for collaboration. Furthermore, it is important to know that you need to record whatever you wish, talking, cooking, nothing, for the full duration and send this default recording. Make sure you use the window that is best for the other one recording first. She will simply click on it and record over it, while listening to something else on her headphone.

When she was happy with the sound, and it is not easy, singing opera from home, she sent the collaboration request to our pianist. In addition, we had decided which notes she would play and in which octave, so that I could arrange a flute part that fitted. Now, surprise, I had planned flute and piccolo, so we were working with 4 windows.

It took a lot of trial and error, but in the end we came up with our arrangement of “Saper vorreste” from “Un ballo in maschera” by G. Verdi. Here is the result:

How to use acapella app for an unedited concert


This concert is very special and nothing alike has yet been written in the classical environment. It was our wish and describes our personalities and cultural backgrounds: “Two Souls” – double concert for flute, piano and orchestra

The concert is based, as the title suggests, on the characterization and juxtaposition of two “musical souls”: on one side the Swiss-German one by Jana Hildebrandt (flutist) and on the other one Cuban by Monica Jimenez Calvo (pianist). Composed between 2019 and the beginning of 2020 on commission of the two concert artists. “Two Souls” uses an immediate, modern and captivating language, also making use of some references and thematic ideas like the following:

We might recognize, on the one hand, the beginning of the 1st beat of the VI “Pastoral” symphony by L. van Beethoven, some ideas from “Der Freischütz” by C. M von Weber, references from “Abendsegen” by E. Humperdinck taken from Hansel and Gretel, hints of Viennese waltz by R. Strauss (An der schönen blauen Donau) and on the other a reference to the famous “Guantanamera” together with the use of pressing rhythm with the use of the “clave”, references to the Cuban style .

Everything is packaged in the form of the Classical Concert, with an energetic and dancing first movement in tripartite bi-thematic “Sonata form”, a poignant Pavana and a sparkling Rondò on the rhythm of the “clave”.

Our two souls, Cuban and German are fused to a great concerto which will be presented live as soon as possible!

 

Thank you for reading, share and like our videos and subscribe to our YouTube channel!

 

Janie

           topflute

how to use acapella app

FLUTE EMBOUCHURE TIPS FOR DYNAMICS

One of the most important tools for expression and interpretation of a classical musical piece are the use of dynamics. But with no obstacle to verify our air speed, it is also one of the hardest as a flutist. Having no external feeling for the air resistance, we need to create it in our own body and by adapting our embouchure. Here are some flute embouchure tips for playing different dynamics on the flute and get to the next level of flute playing!

 

Flute embouchure tips for dynamics


Most flute players do not use the full dynamical range that the flute offers. Generally, they say that the flute has a limited range. But this is true only if you don’t use its full potential! So to stand out as a flutist, other than good intonation and sound quality, controlling your dynamics is key!

How do we play loudly or softly?


The volume measured in decibel depends on the air speed with which we direct our air stream towards the border of the lip hole. They say that the flute can produce over 100 db to the player easily, but doesn’t have such a wide range. Just for a comparison, human speech usually doesn’t exceed 40db. Depending on the culture….

How do we control air speed?

The velocity of our air flow depends on the pressure that we apply and the volume of the air that needs to pass. Moreover, we can control the diameter in various checkpoints on the way out. The last is known as the embouchure, which is the way we place our lips on the lip plate and control the opening between them.

 

How involved is the embouchure in playing different dynamics?


Following Geoffrey Gilbert’s teachings, the embouchure should change mostly for dynamic reasons and not so much when playing in different octaves. The more smooth the transition between the registers on the flute and the less the embouchure is involved with that, the better we can than use it to control dynamics.

So the following flute embouchure tips for dynamics should not be abused for other purposes. They cannot and should not replace good and adequate support. To train and stabilize your support, you can read our other article HERE.

 

A good breathing technique is fundamental to be able to control your air flow.

That being said, we can say that the embouchure needs to adapt to the volume we wish to play.

 

Playing loud


Having a good support it is generally considered to be easier to play loud than soft on the flute. That is because in the first years to produce any sound we use the air speed that is needed to play anywhere between mf and f. But we are not yet controlling it.

To play loud on the flute we need higher speed. As said in the beginning we can augment the speed by increasing the pressure and volume while slightly decreasing the diameter of the air flow.

In other words we need to fill our lungs with a lot of air, down to the bottom and in the back as well.

Do not forget the space below your arm pits, as your sides can contain a lot of air as well and the ribs are quite flexible.

This way the air pressure that wishes to leave our body augments considerably and we can control it by hindering it. So the actual way to direct the air out is by an inner downward motion. Imagine the air going down, side wards and backwards.

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Do not keep the air inside by closing your throat. Imagine to fog up a window!

This is the kind of air we need, warm air. Try it against the palm of your hand, you will be surprised!

Have a look at this young lady expaining how to play loud:

 

Playing soft


To play softly however we need to decrease the air speed. But this doesn’t mean to use less support. It is even more difficult than controlling the air flow with high speed. Furthermore, we need to produce a steady air stream, stable but slow.

This needs a lot of practice and muscle memory of the limits when it cracks.

As we use less air at lower speed we need to direct it much more efficiently.

Moreover, it shouldn’t encounter tensions or obstacles as you can easily hear the “bumps” in the sound. So it will be a smaller diameter as well, but with less air in continuous flow. The slower air will be colder, as it has more time to adapt to the surroundings. Those are usually less than our body temperature.

To some flutists it helps imagining the air as warm for forte and cold for piano.

Embouchure tips to enhance dynamics

and play in tune


When studying to enlarge our dynamical range the first risk is not that the sound cracks. We can push those limits with exercises. But the highest risk is playing out of tune.

Forte – flute embouchure tips for dynamics


When you leave your embouchure in the position of mf and push through more air at higher pressure and speed you will be sharp.

To contrast this right from the start we can use a number of measures. One important tool is the inner space of our mouth and the position of the tongue. We can control this delicate balance of volume and pitch by lowering our jaw (as in imagining dark vowels like “o”or “u”) and lowering our tongue with it. This enhances also the range of harmonics produced as it functions as a resonator. Furthermore, those rounder sounds are perceived as more in pitch, as long as they are sustained well.

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Forte is not the opposite of playing piano!


Rather, it is an expression that you achieve when you think of your whole body. Expand your abdomen and torso when playing loud, creating an opening feeling, big and strong. Like an Opera singer! Use your whole body and head and get a lot of energy and momentum going to your flute. The biggest part of your instrument is not the flute but your body!

But the most effective tool is your embouchure. Change the angle of your air stream by blowing more air into the flute. This way your upper lip becomes more prominent and more in control of the direction and the lower lip relaxes a bit. However, keep the hole between the lips focused to not waste any air and keep the sound in timbre.

The hole you form with your lips is the last check point you possess to control your air stream and dynamics, also your pitch. When all the other check points, diaphragm, lungs, chest, throat and mouth have done their work correctly, the embouchure is the most powerful tool to fine tune and freely express the musical phrase.

In short: lower your jaw, like for a yawning feeling. Relax your lower lip with it, without losing focus. Use your upper lip to direct more air inside the flute (angle goes down).

Piano – flute embouchure tips for dynamics


Provided all the good practice of support and air stream control through the various checkpoints we can now enhance and tune piano playing on the flute with our embouchure.

If we don’t, we will be low in pitch. So we need to raise the air stream by pushing our jaw gently forward. The lower lip is now in control and the upper lip follows its movement. Keep the lip hole focused and small to control the slow and cold air stream.

Soft playing is slowing down air speed, but if you do just do that, you lose control of the sound. Furthermore, the ending will not
be very well controlled. So we need to adapt the embouchure to raise the
air stream and close the lips slightly. Increase your support. Don’t allow it to collapse.

Moreover, don’t get too tight in your embouchure. It is about having control, airspeed reducing and support following it.

In your mouth you can imagine the air flowing through an ideal straw, concentrated and steady. Place the imaginary straw in the upper part of your mouth and accompany it with your tongue. Remember to keep the air flow through your throat open. Your lower lip comes forward.

Watch this lady explain how she does it:

 

A little lip theater – flute embouchure tips for dynamics


For mf you can imagine sending a kiss or blowing out a candle. To play piano you can imagine blowing the air into your nose!

Sometimes, to not cover too much of the lip hole in the lip plate and have the right angle we need to turn the flute a little outside. Especially, when the sounds end. This helps keeping the pitch when the air is finishing. But it is just that, a help if nothing else works! Don’t move your flute inwards and outwards all the time and make those movements subtle and gentle.

Try to not be tight around the lips, but have control of the reducing air speed. Let the embouchure follow it!

The trick is to use your support first and let the embouchure follow the air stream.

This is the hardest thing on the flute, especially in the higher octave. It takes a lot of practice, but it can be done!

Once you master your dynamics and play in tune you will rise above the crowd of the mp – mf flutists. Actually there is one more difficult thing and that is the following:

 

Transitioning between dynamics


Better known as crescendo and decrescendo.

The best way to practice and gain muscle memory of the transitioning between the two is with long notes. You can vary your exercise from pp to ff, or just pp to mf. And back of course. Also, on one breath. Try to stay with your natural vibrato and go to the limits in both directions.

Be sure to practice transitioning slower and faster and to start and end the sounds in the desired dynamic!

I usually put my metronome to 60MM or slower, play the C”’ on the flute for four from ppp to mf. Then, still on one breath I connect in legato the C’ (two octaves down) and reach still in crescendo the fff. In the four beats on the lower C I start to go back to mf and switch still one breath, still legato to C” (middle C) where I go back to finish in ppp.

Something on C sharp and going up the chromatic scale to C””.

This combines multiple exercises and you can chunk it down to smaller parts. I created it to tackle my weaknesses. You should find out yours and practice to overcome them. Some of my students were able to start ppp and finish ppp very well but couldn’t start clear and clean in fff. So they need to adapt this exercise to their needs. Which I obviously did for them.

In the following video you can see another version of this exercise:

Don’t hesitate to write your actual limitations in the comment section as I will be more than happy to design an exercise that fits you and helps you overcome those. Don’t forget to mention your strengths as well!

 

Staying motivated


This will also be of incredible help to stay motivated. We tend to remember our limits and feel bad about them. But we’d rather not address them. Overcoming them is such a motivational boost! Don’t deprive yourself of the free possibility.

Inscribe to our newsletter. Comment and ask below our articles.

Really, the most important thing to stay motivated is to reach out and ask. Surround yourself with a study group, virtual or personal and ask, discuss and share your victories!

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It feels so good when you overcome your obstacles and makes it easier every time you encounter a new one.

This is the best way to stay motivated: To improve! The longer you stick with it, the more it becomes a natural part of your life. Furthermore, you know now what it takes and working on yourself gives you strength. However, it is true that this is only possible when you admit to flaws, but as soon as you learn how to turn them into strengths you will look for more of them for yet another motivational boost!

 

Exercises flute embouchure tips for dynamics


  • Other than the above mentioned exercise you can practice dynamic changes on harmonics. That is very helpful as it makes it harder in the beginning (less freedom of the embouchure when playing a certain harmonic), but easier on the basic sounds.
  • Try to start and finish the sounds tapering, with a little whisper as a natural transition from silence to ppp. This is also very useful for your muscle memory. Every note has a specific version of your inner cavities and your muscle memory can recreate it if it has repeated it often enough.
  • Do note bending series, work on moving in between the extremes and don’t get stuck in them. Especially effective are note bending exercises up.

You might want to check in with your tuner. But only to get a feeling for the right pitch and develop your inner ear!

  • Practice attacks and endings as well and check out your limits. Don’t be afraid of cracking! You need to know where those limits are.
  • Imagination helps a lot, but the best thing is to develop an inner muscular understanding so that you can focus on the music.

To link your exercises to your actual pieces that you study, watch this young lady explain how she does it

 

To make an impression, use flute embouchure tips for dynamics!


Using all your colors is one of the most difficult things to do in practice and therefor we can stand out if we work on it and develop a wide range. With exercise we will not only control dynamics but control the tone and its consistency in doing it regularly. To enrich your view on the subject of sound quality, have a look at our newest findings at topflute.

Don’t get discouraged in the beginning.

Transition between the two extremes and use note bending exercises. Don’t forget about phrasing and sound quality, use your natural vibrato and don’t exaggerate. Dynamic range on the flute is not very great, so we need to work on it and develop it. One of the most expressive tools we have along with vibrato and general phrasing.

However, consider upgrading your flute if you have reached the limits or your study flute.

To know more about the best options, click here!

So that in the end you can focus on the music and your muscle will find the right movement on their own.

Wishing you all the success that you deserve,

Stay safe and sound,

Janie

topflute

flute embouchure tips for dynamics

EXAMPLE PERSONAL BRAND

As we said earlier in our article about story creation, the personal brand is a very powerful tool of content marketing and highly effective. So here we wish to give you an example of a personal brand.

In Example Personal brandthe earlier article which you can find here, we explain what it takes to produce and tell a story.

But we didn’t want it to become endless, so we decided to give an example of a personal brand in this second article.

 

Enjoy my own story, as an example to a personal brand which led to the creation of Duo Fantasie!

Example Personal Brand – Duo Fantasie Story


Flash forward to doubts and delays in the living of my dream

It is September 2017 and I am in a school building. A lot of noise around, from talking students and musical instruments playing. I don’t feel I belong, it is too noisy, too chaotic and I can’t seem to find a
proper teaching room. Everything echos when speaking, I do not wish to play or teach in rooms with the acoustics of bathrooms.

(in the middle of the struggle, before the catalyst moment, part before creating your personal brand)

Flash back to the double loss I had suffered, musically and family wise

And suddenly I was back in October 2012. Warm air is moving the leaves on the trees gently and the sun now and then comes through and caresses my face. But the surrounding people are wearing black and are not happy, some even crying. Together with my sister I am on a cemetery, it is our mothers funeral.

People keep their voices low. You can hear the leaves on the ground being moved by the wind. A weird feeling of a parallel world takes possession of me and my sister. The gravestone was just like we had imagined, her name, her smiling face and a flute attached to it.

We both still heard her voice saying funny things to us and laughing all together. So we smiled and one of us pronounced those words, so both of us started giggling. Not the best timing, at the funeral, they probably thought we were crazy. But we were dealing with saying good bye on our own terms, hearing her play the flute and laugh. There was plenty of time to miss and mourn her later on.

(my big loss as an example to a personal brand)

First steps on overcoming the loss – toward your personal brand

My way of honoring her was to play the flute again, I had studied it and graduated 3 years earlier, but her illness had taken away my hope and passion. I didn’t want to train and train, study and study, just to
live close to poverty. This is why I had decided to just continue the tourist guide thing I had done to pay for my studies. It was fun and paid well. But the price was giving up on my dream and on part of my
identity.

Now I felt the double loss, my mother was gone, my dream was gone and what I was doing felt senseless. So I started playing on a professional basis again. Furthermore, I went back to the Conservatory and took a Master in teaching and another in performing.

How I got from the loss to a state of trying and doubt

First transition in my example of the creation of a personal brand: Whenever I played, the academic world said it was too much. Too personal, too free, too me. I thought then it was a negative thing then and tried desperately to fit in. Which I eventually did.

I had won a teaching position for life in a musical high school after trying for three years. But now this big dream all of a sudden seemed worthless and ridiculous. The first colleagues I met were not very
interested in teaching music, much more in gaining power in the city and the school. A deep fear of having failed my dream again overcame me.

Even the orchestral position connected to the position was eventually part of a provincial power game that had little to do with offering music to the public and much more with gaining influence. I told myself that I was exaggerating and should be happy and thankful. This was my dream and
close to the sea as well.

But was it?

So full of doubts I went to school every day, trying to teach passionately and with good practice. But every day, I was interrupted by mediocre power games that too often used an overwhelming amount of
bureaucracy to stop. And all this while earning close to nothing. As a result, I felt like a missionary and tried to do my best. After all, I was in my trial year. My students saw it coming, they realized much sooner than me, that I was sadder every day, with less energy and less hope.

How was I going to teach and install hope in those young minds, when I couldn’t find a reason for that myself? In desperate attempts I drove them anywhere to play, even on the streets and organized concerts for them. Every time I encountered more bureaucratic burden to overcome to do just that.

But I stuck with the teachings of my mother and my passion for flute playing and teaching. The sound my mother was able to create on the flute was still unforgotten and even though she had died I could
still hear her. This guided and soothed my struggled mind.

(the doubts and delays are going to be overcome soon! Example personal brand final)

Catalyst meeting

Second transition in my example of a personal brand: Then, one of the talkative colleagues of mine started to continuosly interrupt my lessons (which I was wearing ear plugs to be able to do in
the facilities I was appointed…) At first, I was annoyed. I sent her away many times, even without a greeting or a smile. Luckily, she insisted. This little Latin Lady kept popping up, smiling and talking.

Always busy, but I couldn’t find out with what. In the end, she asked me to play with her. Her little brown fingers played the air all day long and I guessed it was piano that she was teaching.

Finally, I accepted.

And what a surprise! Her sounds fit with mine perfectly, timing, articulation, phrasing, dynamics, she followed every one of my impulses and developed my ideas.

It was fantastic! I felt free again, me, personal and understood.

Little bumps on the way to freedom – Example Personal Brand

I felt alive again and had hope.

We started to play together on a daily basis and found out that we loved the Italian Opera Repertoire and Chamber Music Works of Composers like Donizetti.

Many fantasies were written on lyric themes and arias, mainly in the same period as the Opera itself.

This is how we created our first concert “Concerto Italiano”.

It was an all Italian concert program, including fantasies on famous operas and intermezzos that we ourselves adapted for flute and piano.

Moreover, as a bis I wrote a medley of the most beautiful parts. It became a little concert piece in itself and a friend of ours directed the following beautiful video with sea view on Elba on its music.

It is supposed to evoke an ideal Italian saturday afternoon:

 

 

Of course, we heard comments like “Cuban and German” playing Italian music? Well, that was exactly so! We overheard them and listened to those who told us how they could not make out anymore which instrument the notes came from. We had really merged as a Duo. Adversities come and go, but we became friends.

Winning back your passion – little victories in my example personal brand

Moreover, I was able to win my passion and dream back. Still being part of the orchestra, but a
free musician now.

No bureaucracy holding me back, just me developing my talent and connecting with those who resonate and receive it as a gift.

 

 

Now, Monica and I have created many more concert programs speaking of
our identity and passion.

The Italiano Opera Trio Project for our love of Opera and friendship with the wonderful Roman Soprano Federica Raja.

 

 

Thus honoring the country we live in.

In addition, we created a Fantasy Program with Fantasies from different European Countries and composers. (Fauré, Doppler, Borne on Bizet, Taffanel on Weber, Galli on Verdi, Genin on Verdi…) to honor our personal brand name.

Most recently we decided to honor our own origins as well and created a
Hispanic Concert and a German Program.

Our different characters and cultures have caused more than one internal struggle, but the musical understanding and friendship, as well as being both foreigners in our country of choice, have brought us even closer together.

So now we celebrate our differences as strengths.

The Spanish medley speaks about colors, tasts, pride and the power of their combination.

The bis to “Alma Espanola” has been turned into a little video as well, by the same fantastic director, Alain Redaelli.

Please like our videos and subscribe to our channel!

 

 

We actually inspired

a composer to write a Double Concert flute piano and orchestra for us:

“Two souls”!

You can read more about it in the article about musicians during lock down.

Enjoy our videos, subscribe to our channel, like and share them and spread the passion!

Stay safe and sound,

Janie

topflute

create your own story

CREATE YOUR OWN STORY

Why would you want to create your own story as a musician? The answer is to sneak out under the oppression of the musical industry and stand out with the unique gift you have.

Why would you need to create your own story


Telling your story makes you relatable and audiences just love the personal connection to you and your music

create your own story

Creating your story brand is called content marketing in today’s world as opposed to self advertisement. It is actually 62% cheaper and three times faster than promotional campaigns and advertising.

Furthermore, it doesn’t consist in advertising a list of your achievements, but rather focuses on personal and individual traits that people can resonate with. Relating to you and your story will help them see their own story and give them hope.

So let’s have a look at this vital element marketing your talent: Create your own story and tell it effectively. Learn how to do that in a charismatic, artistic and effortless way while becoming more clear about why you do what you do and why you should do even more of it!

What are the attributes of a good story


To create your own story effectively, let us have a look at the structure of great stories. They all have similar elements from ancient Greek Tragedy to Opera and Hollywood movies. Our brains are just wired to be receptive to its characteristics.

They usually consist of three parts, acts or episodes ending in victory or tragedy. Of course, we are interested in victory!

Furthermore, they might have an introduction and passages linking those building stones or commenting on them. But the basic structure does not change:

 

We start with a huge loss, an accident, a dramatic situation with an important impact. This leads us to doubt and struggle, delaying the good parts in our lives or even nearly blocking them completely.

In our case, the good outcome that was hindered, is our dream of living from our musical talent. We are protagonists in the story and meet pretty soon our antagonist(s), someone or something working against us.

Fortunately, there also is a friend, sage or positive influence keeping us and our dream alive. You will be surprised how many people can resonate with this.

Wait, this is not the end! – create your own story effectively

Luckily something positive happens, we meet someone, read a book, hear something on the radio, anything that catalyses good momentum and helps us reach up. Obviously, there are still going to be struggles, but our doubts subside and we feel hope again. We might be ridiculed or rejected, but they are moments that we know now that we can overcome. Our catalyst moment has given us the belief and energy to rise above those limitations, the inspiration to effective action and life change.

This is what most people are still waiting for. Hearing about your little victories to overcome the adversities installs new hope in them. Now they not only know what happened to you, but now they see themselves in you. Many of the things have happened to them too. This is a human. They will feel hopeful. If you can do it, they can do it too!

This is where your gift and talent becomes relevant to them. Most of them are in act two and are close to giving up. So they need a leader. It is not about you, but about them!

You do not need to have achieved the big end victory, it is enough to be currently living act three to inspire your audience.

Find out more how to build your story and be guided through it step by step on the Professional ARTIST Pathway.

If you wish to read an example story, please refer to the following article ——->

 

How to tell your story effectively


Appealing and educational story telling

Some storytelling fundamentals to create more and better stories with less effort. Actually telling a good story is natural to you! So it won’t be hard to implement the following:

 

Visualize your story and walk your audience through it. Let those visions come to life by giving details.

stage spacesI used to be a tour guide to be able to pay for my education and that helped a lot. I learned that your personal connection to the topic makes it more interesting. Often the tourists remembered my passion and that they would feel passionate too, but forgot some dry facts. They remember the feeling of living through certain stories with detailed descriptions of where and when. If you describe the main characters of your story with more detail, not exhaustively, but some gesture or trait that might have a strong emotional connotation. Just visualize those characters and pick the first thing that sticks out in your memory. Use fewer words, but describe and imitate gestures or actions.

Another good idea:


Using dialogues
by playing them out is also a very powerful tool in story telling. This way you can walk them through and they can build their own connection. This will lead them to relate to your personal events, as if they were their own and your bond is created. To strengthen it, use descriptions of all the senses, by telling how something smelled, what it sounded like and so on. In the musical environment it might be especially important to say how things sounded to you.

Finally, but not least, you are used to being on stage. You know that there are different spaces on stage for performing and talking and you should make use of them. A spacial description of the chronological order, like standing further to their left for older events, might also help you to catch their attention and keep it.

“Let me take you on a journey….” This is how you might begin.
Go back to a specific date and describe your visualization.

 

You walk to the story space and into the past section of the stage.

Use your stage experience, and all its spaces. You can do the same on video. Make sure whether you have the mirror function on to know which side to step to on your imaginary timeline.

For more in depth information see the free webinar Professional ARTIST Pathway.

 

Creation of your artistic story brand – create your own story

 

 

Do not reveal everything at once. Wait till later to create some suspense. It is a very powerful technique in story telling.

Step out of the millions and be unique! Think about who the actors in your story are and start writing it out.

Ask yourself these relevant questions: Who are the antagonists, what was the delay, what are and were the doubts. What did you do to get on top of it? Who helped you and could be described as the sage?

What is the catalyst moment in your life? A book, meeting a person? After deciding what to do, who ridiculed you, who made it all the way harder?

What were the obstacles, what were the victories? Maybe not big ones, but even small ones….every one has an Act 3!

You do not have to be way ahead of your audience, you can inspire them already with little jewels of small victories. You are on your way of living by sharing your musical talent with the world.

 

Start writing now, you can change it and improve it anytime you like.

Do you need help with the creation? Follow the free webinar of Dmitri Badiarov.

 

Also, read my example article here, it will give you more clarity as to how those aspects of a good story are woven together!

Start telling your story as soon as you can


You can always start telling your story, as long as you live, it evolves and you can share it step by step and inspire others to do the same. So you can slowly advance on your way to living your music life. Connect and inspire! This is the idea behind telling your story, not a list of achievements.

Make your music relevant to them by making it relevant to yourself. If you create your own story, you gain a lot of insight into your own life and understand why you do what you do.

This helps people to relate to your music as well. The time when it was enough to have played here and there and won a few prizes, “just” play flawlessly and disappear as a person behind the musician, the perfect performer, those times are becoming more and more extinct.

No reason to despair – the Professional Artist Pathway got you

In this century we want to know why we should listen to you. Why we would want to be part of one of your live performances, why it is so uplifting when we are offered the possibility to engage with your gift. It is not enough just to wonder about your perfection. Our human nature longs for a story, a loss, a struggle, a catalyst moment, more struggle and then victory.

 

We desperately want to live that through you.

So, get up and create your own story! Think of it when you play, tell it during your concerts or organization of masterclasses. Whatever you choose to do with your talent, tell people why. Let them know, that there is a way, for you and for them.

For you and for them

Thank you very much for reading this article. I hope you found some interesting insights and new ideas.

If you found any value in this article, please leave a comment below and like our YouTube videos!

And do not forget to watch the webinars of the Professional Artist Pathway!

 

For an example of how to create your own story, read my article on Duo Fantasie.

Best wishes for your success,

Jana

topflute

create your own story

FLUTE MAINTENANCE AND REPAIR

Do you play the flute and practice consistently? You will have learned how to maintain your flute clean and functioning and even have had to do little repairs now and then. Often your teacher does them for you or you go to a shop. But what if you could learn to avoid that? Read on and earn a new skill: Flute Maintenance and Repair.

How to do proper flute maintenance and repair


 

flute maintenance and repair

 

With proper flute maintenance we can avoid frequent repairs in shops or visits to technicians. But if there is a persisting problem and you have considered all the following points, you should go to a professional repair shop.

However, there are many little things you can do to keep your flute functioning and well maintained.

Furthermore, emergency problems might be fixed for a week or two in many of the following ways.

As the most invasive enemy of a functioning flute is not drammatic damage or incidents but moisture, be sure to oil your flute once or twice a year. It depends on the amount of time you spend playing it and also the surrounding environment.

But it also depends on agents in your breath, like bacteria and acids. Make sure you clean your teeth and mouth before playing. Also avoid sugary food even two hours before playing.

 

Do not exaggerate with the oiling of the flute as it might damage the pads and corks.

 

Moisture and Oil


The flute from a technical point of view is seen as a machine which is subject to wearing down from up and down movement and moist environment. Did you ever think of your breath containing sugar,
acids and bacteria? Also, the inside and outside of your hands contain a number of elements that increment the wearing down of your instrument, because they are going to sit on pads and inside the mechanic.

So what can one do to slow this process down? There is an easy method to prolong the life in between revisions of the flute ———–> oiling your flute once or twice a year.

Because moisture and oil do not mix, this protects most of the flute from agents contained in moisture. Yamaha provides a good quality key oil to do just that. I would spend a little on proper flute oil. As an example, the one provided in the Giardinelli Flute Master Care Pack.

It includes a silver cloth, duster brush, cork grease, rod cleaning cloths, key oil and cleaning brush.

 

Giardinelli Flute Master Care Pack


Giardinelli Flute Master Care Pack

Put a small drop of oil on each end of the key, starting from the top and working down to the low part. Run the keys up and down a few times to allow the oil in and start to work. Afterwards, don’t forget to wipe off the excess oil. Do not oil the pads!

Never put a moisture or uncleaned flute in the flute case. Clean it often, gently but thoroughly, also during practice.

For more information on how to oil your flute and not bath it in oil watch the video below:

 

 

Tuning Cork Assembly – Flute Maintenance and Repair


A very delicate part of our flute is inside the head joint: the tuning cork assembly!

It is responsible as the name would suggest for the overall intonation as it regulates the length of the flute. This is why we should pay attention when cleaning the head joint not to push too hard against the resistance it offers, as moving the cork would alter the intonation. It could also result in an annoying loose crown or end plate.

Test: A very easy way of finding out whether it has been moved is by turning around the cleaning rod that was delivered with your flute and sticking it inside with the lower part. Be sure not to scratch the sides of the flute. There is a line on the rod which should result in the middle of the hole in the lip plate.

Often, due to pushing too hard or shrinkage of the cork due to moisture, it is moved further so that the line appearing in the mouth piece is closer to the crown.

Info:The tuning cork consists of that little end plate that you touch inside the head joint with the cleaning rod. Attached to it is the cork with a screw that can be moved by turning around the crown (the visible part on the outside at the top).

 

On taking it all apart, so you can have an idea of the inside, but only for professional technician:

What can we do?

 

Tuning The Head Joint


Now it is time to turn around the crown and screw plate so that we open the flute a little from the top. You will have been told to never touch it as to not alter the intonation. But now is the time to do just that!

Attached to the screw plate you find the tuning cork with the end plate, but they will remain inside of the head joint. Turn the screw to elongate or shorten the way to the screw, so that it gets back into the right position and tighten it. Don’t be afraid to push till the crown clicks and turn the screw just a little to fix it.

Check again with your cleaning rod and if it is still not in the recommended position, do the whole procedure again.

To have a better idea, you can watch the following video.

Just about tightening the crown:

How to identify a flute leak – Flute Maintenance and Repair


If for some reason your flute is not playing at all or just for some notes, you might have a leakage somewhere.

You can identify it by finding out what still works and what doesn’t. If you cannot produce any sound, it is likely to depend upon the trill keys and might just be a spring that became loose. Verify that all springs are in tension and keys that should be closed when not used, are closed. If not, recharge the according spring by putting it back into position.

If just one or two sounds cannot be played, there is a leakage depending on the imperfect closure of one or more keys.

Because, when they are all sealed and the flute is empty (I once left my cleaning rod inside as a student and couldn’t figure out why it wasn’t playing!), sounds will be produced.

There is a nice video on how to identify a leak that I recommend watching if you are a beginnner:

 

 

How to fix a leakage on the flute


 

To fix a leakage effectively we need to understand what actually holds the keys on our flute first:

There are long rods running through key tubes along the whole flute, fixed with posts on both ends. They also run through the keys and keep them from falling off. The posts are fixed to the rods with pivot screws with or without heads.

If a pivot screw has a head with thread in it, then it can be used with an appropriate screw driver to loosen or tighten it. So check for loose ends and tighten them. Do not overdo this, as it is a very delicate balance.

To keep them in position, if they are coming out every second day, my mother and teacher told me to put transparent nail polish, just a drop and fix it to the post this way.

More information and detail in this fantastic video below


However, all the pivot screws are in position and no springs are loose, and there still is a leakage.

 

What can we do next?

Key Position Adjustment Screws


In case of the very common leakage regarding the F sharp key or B flat key, there are four key position adjustment screws that you might need to balance the proper traction between key mechanisms.

The lowest one is the D key and it helps to synchronize the movement with the F sharp key. If you turn it clockwise it will make it close earlier, provided the same pressure. Do not move them too much as little adjustments often do the trick.

The second one from below is the E key which also balances the movement with the F sharp key and will make it tighter (close earlier) when moved clockwise. Furthermore, the same is true with the third key, the F key.

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A different mechanism is used to synchronize the A key with the B flat key.

However, G is played by closing two keys simultaneously, but there are no adjustment screws. This can only be solved by adjusting the pads. I do not recommend that as they are easily damaged and torn.

In my opinion, you shouldn’t over use the adjustment keys as they can also put out of balance and make the problem worse when used too often. This is especially true for the three keys in synchrony with F sharp. They can affect the other keys connected. So be sure to move gently and little and only after having verified exactly what you wish to move and where.

Also, it needs to be stressed that one should use appropriate screw drivers and not scratch the screws. Little adjustments help through a time period that you cannot afford to go to a technician time wise or money wise.

But they do not avoid a need for periodic and professional flute maintenance and repair.
In order to find the exact position of the screws on the keys, please refer to this video

 

Key position adjustment screws are all set the best way possible and still one or more keys are not closing?

 

 

Emergency repair to improve air tightness with seal tape


If for some reason you are in an emergency situation and the leakage can’t be adjusted by the adjustment screws, you can use very cheap seal tape that is used for pipes, to make them airtight. Just be sure to not damage the pads!

Just wrap it around the keys until they fit and seal when pressed. This is the most economical way to repair a flute in an emergency at home. But be sure to make your way to a technician as soon as you can.

This video explains how to repair your flute for air tightness in an emergency situation:

 

 

Professional Flute Maintenance and Repair


What is an overhaul?


The whole flute is dissembled completely, with the use of heat, spring hooks, screw drivers and special tools for french holes. Then technicians take down pins and rods to clean thoroughly. Then  chemical baths follow to deeply clean and remove all dirt.

Afterwards, the flute parts are air dried and checked for damages. Some parts might need extra baths to become completely smooth again.

Then the flute is reassembled and the keys are in perfect balance.

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Most professional flutists have their very own wish on how strong the resistance of the mechanic is best for them. I love it when it reacts very softly even with a small amount of pressure applied. But that type of mechanic is prone to loosen quickly and thus I need more balancing sessions than those who prefer more resistant keys (loaded with more tension towards opening).

Furthermore, the trained technician makes sure that all pads are sealed perfectly. This involves constant testing and readjusting. When the technician is happy with the result, he/she waits for the client to come back and test the flute. There could still be readjusting and balancing be needed. The client is free to ask for it until he/she feels satisfied with the result.
More on professional flute overhaul in the following video:

Flute Maintenance and Repair: How much does flute repair cost?


The cost can be anywhere between just balancing of the keys for far less than 100 dollars. If you add multiple chemical baths, repair of gold or silver parts of the flute and re padding of the whole flute with expensive professional pads, this might come to around a 1500 dollars or even more.

I myself have paid between 20 and 400 Euros in Italy. But I have not done the bathing yet in Italy and in Germany some years ago it was close to 800.

For actual prices in a very professional center, consider the the Flute Center of New York and

have a quick read here!

Consider also shipment and travel. Depending on your flute (beginner, intermediate or professional) you will seek the adequate repair studio. This is why maintenance and little self adjustments can save you a lot of money.

Look for professional screw drivers that with some attention (to not scratch the flute) you can also use as spring hooks. Choose flute key oil and clean the flute every chance you get!

Avoid eating sugary meals or snacks just before playing and if you absolutely have to, be sure to clean your teeth and mouth and wait as long as possible.

Provide yourself with the minimum maintenance and repair kid and use it so that your flute wears down much slower and needs less professional repair.

I hope this article was helpful and if you have any further questions post them in the comment section.

 

I would be more than happy to help you out!

 

Jana

 

topflute

flute maintenance and repair

BRANDING YOURSELF AS A MUSICIAN

The 21st century has given us something new and valuable, the broad use of the Internet and Social Media. But to stand out we need to create ourselves a brand, a story that makes us unique, with qualities and struggles. This is what I mean by Branding Yourself As A Musician.branding yourself in music

Fortunately, there are ways to learn that and not only survive, but thrive as musicians.

Wouldn’t it be just fantastic to play what you want, when you want, where and with whom you want?

There is a way. And it starts with creating awareness that you exist.

 

Branding yourself as a Musician


This also takes some work on yourself and before others can become aware of your existence, you need to become aware of what you can offer. There is a Pathway to understanding and doing that right, which is taught in the Professional Artist Pathway.

It is so profound and helpful that I felt the need to write an article about the great teachings of Dmitri Badiarov, whom I thank for my financial independence as a classical musician. It is incredible what he overcame. But as many of you know, great suffering can bring forth great strengths and ideas. And above all the wish to help. We all know that many of us professional classical musicians in the old system, with agencies and managers, are condemned to a life close to the poverty line.

This is unbelievable, thinking of how much time, effort, life and money we invested in our training. But the training is still from the old music industry that crushes musicians. How to learn new skills to make all that you have learned and trained for worth it?

Join this free 90min online class and find out more. It will blow your mind!

 

Creating a tribe of followers using free social media tools


I learned how to tell my story, create my identity and tell the world about it. It is hard in the beginning, because somehow we feel like traitors to our classical profession. But we are not. Even more so, we can bring our music into today’s world! There is a place for just every one, because we are unique.

In addition to branding yourself as a musician, this is difficult as well to digest.

As classical musicians we are trained to fit in perfectly, to disconnect from anything personal and perform flawlessly. I am not saying this has no value nowadays. In fact, quite the opposite. But we can also bring to life the musician behind the musical performance. Start explaining our repertoire in a professional but also personal way. Add the personal touch and connection with the audience, that we tried to not engage in before.

But now we can, and we should! There is a wonderful course just to leave our comfort zone, play even better but also take your fate in your own handsbecome our own directors. I am still fascinated by it and deeply grateful to the Professional Artist Pathway.

It shows a bullet proof way to overcome the status quo of the financial music industry where musicians are the last to benefit.

 

Take your fate into your own hands


Not only by Branding Yourself As A Musician, but even more so, use that brand and deliver value of your teaching and playing to places you would have never imagined.

It is in your own hands. You can become part of the statistics

(The Strad, Musician’s Union) according to which

  • 65% of musicians are in depression,
  • 71% suffer from anxiety,
  • 60% not earn anywhere enough,
  • 60% consider giving up after 30 years in profession and
  • 48% are victims of abuse at the workplace

This seems like a huge problem in the industry to me. To me it is clear that I do not want to become a number in those stats but would rather put in some more work and learn new skills to be recognized for my musical talent.

The question is how? Join this free 36 min webinar to find out!

 

Become your own agent


This might seem scary. But it is actually freedom, musically and personally speaking. Wouldn’t you want to find out how that is possible and listen to someone who has done just that and helped so many of us to follow through?

And the question is, whom do you want to be? A musician recognized in the stats, or a musician recognized for your talent? create your own reality

When we are professionals in music, and we are kind of serious about music, we want to adapt to what’s happening in the world. Because if we don’t, we are then a bit like dinosaurs? But it does not have to be so. It’s just how they teach us at Conservatoires.

How Musicians, Instrument Makers & Teachers, Can Get Premium-Paying Audiences, Clients & Students WITHOUT Having To Leave Their House.

 

Join this free 90min web class to find out.

For more information about how to write your own story brand and why you should do that, read my article HERE.

 

Create your own musical reality


When you have created a tribe of interested followers, it is time to set up your musical life for success. In the Professional Artist Pathway you also learn how to create the life you want and produce concerts and masterclasses to provide for that life just in the amount you dream of. It is possible. But it needs a new mindset, a group of like-minded musicians to hold you accountable and for you to step out your comfort zone. It is not easy, but if I can do it, so can you!

Learn how to organize concerts, decide the programs, venues, colleagues and income. Be fascinated by having your talent finally recognized like you deserve it. You might just wish to help others as well and teach your very own practice method in masterclasses. Enough with the breadcrumbs!

Step up for yourself and live your dream-by branding yourself as a musician

It is a question of learning how to find an audience that values you and supports you. With the internet this is more than possible and you would be a foul not to learn how to connect to your tribe. It is out there, it just doesn’t know you exist.

Don’t be afraid, it has not so much to do with selling and everything with becoming a more complete musician connecting to the audience you can actually deliver value to that they will be thankful for.

You are welcome to join this free online masterclass and discover for yourself.

Join this free 36min online masterclass

And your life is about to change.

Don’t you want to feel excited about getting up, studying for your very own concert? Connecting to colleagues that you have always wanted to play with and creating your own audience?

I am, every day, and wish for nothing more than offering a guided step by step pathway to this extraordinary life of yours that you will unleash!

The stats are waiting…..

Jana

topflute.com

branding yourself as a musician

UNLEASH THE BRILLIANT FLUTIST IN YOU

Are you tired of never feeling good enough? Even though you put in crazy practicing hours? Do you sometimes secretly start to hate the flute? And then feel guilty and get yourself to practice even more? Then this article is for you to help you unleash the brilliant flutist in you. You will learn how to manage your time and energy efficiently and how to allow yourself to rise to your potential and above!

 

Unleash the brilliant flutist in you


In order to allow yourself to forget about your limits and rise above them as if it was a piece of cake, you need to start seeing the unleash the brilliant flutist in youbroader picture of being a flutist. It is not only about practice hours and mistakes. About physical pain or mental exhaustion. It is about allowing your unique qualities to arise and unfold.

Most of the time we are not even aware of our qualities and accomplishments. We are busy punishing ourselves for mistakes or presumed laziness. At least that is what I did.

I focused on the absence or lack of something, instead of being grateful for what I learned or was able to do better than the day before.

Concentrating on the absence of a skill, will never let that skill break through in you.

 

The mindful flutist – unleash the brilliant flutist in you


Instead of focusing on the gap between where you are and where you want to be, which will result in negative thoughts impeding real improvement, start your day with an appreciative thought.

Yes, this is an important step on changing your resisting focus onto a more allowing way of thinking. We flutists have something in our life that is always there and that deserves appreciation: breathing! Breath and air, filling our lungs and body, what a wonderful mechanism that we do not even have to think about.

Just stop for a second, breathe in deeply through your nose and out again through your mouth. Follow the air with your imagination and be thankful. Appreciate your ability to nurture your body with oxygen and to gently control the air going out again.

Meditation would be a wonderful idea to practice the feeling of appreciation and thankfulness. There are also inspiring explanations you can listen to on youtube.appreciation and thankfulness

It is hard when you are feeling down to feel thankful immediately. Try rising your energy slowly, to a thought that is a little less negative than your actual ones.

Try to focus on things that you have no hard feelings or thoughts about. Ones where it is natural to acknowledge that they are good (the sun, a pillow, facial cream etc…). It is easier from acknowledging a positive thing to get to appreciation eventually. Don’t be hard on yourself.

Read more about meditation in the article I dedicated to this topic.

Try to get yourself in a grateful state before you play. While you play beware of your thoughts. Just notice them and do not judge.

Are they more critic of your playing or do you sometimes give yourself an imaginative pad on the shoulder? Whenever you notice a positive thought, stick with it. Focus on it and milk it all you can! As for the others, just let them pass. No judgment.

You can also train your imagination and start with inlcuding natural elements into your practice thoughts, like the image of water, the sound of the wind, the feeling of the sun on your skin.

Read more about nature and flute practice in this article.

One last tip on being a mindful flutist, who is allowing the full potential to unfold, is to visualize the good outcome of whatever you practice for.

Imagine your teacher complimenting you, your audience applauding you or yourself playing well and being satisfied with the result, maybe winning a competition or audition.

Imagine the scene as clearly as you can. What are you wearing, who is there, what is the temperature, the smell, the general feeling. What is your sound like and the acoustics of where you play? Is there any noise or someone else playing with you?

Imagine and visualize the scene over and over. This is as important as the actual practice so do not skip the mental preparation!

 

The fit and healthy flutist – unleash the brilliant flutist in you


Playing the flute is like doing sports on a professional level. Your whole body is there to support the creation of your sound. So you should try to get a good connection with it, first of all of appreciation and thankfulness. It helps you experience and express yourself through the wonderful art of music.

Get to know your body through exercise. Beware of your limits. When it asks you for a rest, you need to give it a break. Do not over practice as this is very harmful. When parts of your body become tired, others will take over their part and you unlearn the best breathing technique or posture, that it took you so long to learn. So give your body a rest. If you are interested I talk about some stretching exercises and muscle training in these articles: stretching and muscle training.
fit and healthy

But also train it as an athlete would. You remember the fitness studio exercises? They always come in sets of three. Never over the limit, just a little under. Like sets of crunches for example.

So learn from this experience and divide your study into three sets. In all of them you need to stay fully present, focused and with all your attention on the task at hand.

Find out for yourself what your limit is and do not go over it. Instead, try to be more focused when you practice and stop when you could still go on.

Like an athlete warm up before and stretch afterwards.

Translate that for yourself onto the flute practice. As an example, I start my day with playing anything that comes into my head, softly slowly improvising. When I get a good feeling I start with some scales or exercises that help me study the music I need to learn.

Always start slow, no rush. Difficult passages I start to study with the metronome extremely slowly. So that I am sure I can play every note and memorize my body position and energy distribution as well as the sound that I want to produce.

Then you take it up in little steps, faster and faster. When you lose control, start going back down again. That is the stretching of the mind and body. Slowly getting down again. Then give yourself a little rest.

On average, you should include some minutes of rest after every 20min. That is the time one can really focus. Unfocused playing is like unlearning what you did earlier.

So as for a healthy life, especially for a musician, move, exercise, get into the sun, fresh air, do gymnastics especially for the parts that are on heavy-duty playing the flute, like shoulders and back.

Eat well and sleep well. More on that you can read in my articles by clicking on EAT and SLEEP well.

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The social flutist – unleash the brilliant flutist in you


Think positive about yourself and others. Find positive things to think and say every time you can. Focus on what you did well while you play and after as well. Sometimes it is easier to do that with others, so start there if you like. Watch a video of a different flutist every morning and find positive things to say and think. Even comment and write to them.

As a musician it is core that we create a positive and uplifting surrounding for us. Already while studying in college be sure to make friends and study in a group as often as you can. They will hold you accountable and carry you through darker times and you will do the same for them. Furthermore, it is very inspiring and motivating to be part of a group with similar goals.

friendsIf you do not have such a group, look out for them on the internet. So many of us have found support and inspiration.

We all need a nourishing environment and mentors that we can count on. So start creating that as soon as you can.

Also, always have a safety net for when you fall. Create connections and bonds that uplift you and be interested in other people’s stories. You can learn from anyone and anything.

Live your life fully. Form healthy relationships, friends and family, outside of the musical world. Fall in love and live through it. You need life to give life to your playing. Live your experiences and translate them into music. Create something to tell while you play.

Last but not least, while you learn start sharing what you learn. It is through teaching that we really learn what we thought we already knew. Teaching helps you grow and helps others.

Be of help and connect!

 

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The accomplished flutist


So now you got some tools that have not that much to do with practicing the flute, but are even more important. The accomplished flutist knows his or her own limits and how to manage their time and energy around them. Limits are not fixed and can be pushed, but you should do that wisely and gently.

Time is not the same as energy and both need to be organized in an ideall way to unleash the brilliant flutist in you. There might be other things in you life that take up your time and you will have to organize your day in a way that allows you to spend the right amount of time in mental and physical preparation and actual study.

But even more important is your energy management. Find out if you are a night owl or an early bird and when your energy is highest. There are also different types of energy to consider. The mental concentration and the explosive physical force. Divide your flute practice accordingly. As well, take into account the time of the day when you need to play the concert, competition or audition and start to train your energy to spike at that time by putting in enough rest in your day. This is super important! It is when we rest that we learn. Our mind rewinds everything we did and organizes it to be retrieved when needed.

The accomplished flutist is gentle with himself or herself and allows their art to flourish from the inside. Simply by not resisting it and appreciating every brilliant creation that has happened that way, paving the tunnel for yet more of them to surface.

 

unleash the brilliant flutist in you

 

What are your ideas on the different topics above? Please let me know in the comment section below.

I sincerely hope that I help you to unleash that potential of a brilliant flutist that you force yourself to waste so many times by over studying or focusing on limiting beliefs and negative thoughts.

The accomplished flutist is not free of doubts or fear, he or she has just learned how to create a safety net in themselves so that they can just let them go and focus on positive aspects again.

In a fertile environment this is much easier, so find your best spot and grow!

Janie

             topflute

topflute

 

 

 

 

14 DAYS TO THE MAGIC FLUTE – HOW TO PLAY THE FLUTE IN 14 DAYS

Would you believe it? Only 14 days from a total beginner to playing an actual melody from Mozart’s Magic Flute! In addition, even while you travel the world’s most famous concert halls! Come and enjoy 14 days to the magic flute and learn how to play the flute in just 14 days.

You can follow the course on Facebook

or stay on topflute.com to find the single lessons with the PDF files I show you during screen sharing.

 

14 days to the magic flute – how to play the flute in 14 days


14 days to playing the fluteAre you tired of the same boring routine every day? Do you have a flute lying around somewhere in the house? Then this is the thing to do: Stand up and play!

Add some sparkle to those days and learn a new skill, how to play this beautiful instrument in just 14 days.

While not moving from your home you can travel the world with me and visit one famous concert hall after the other.

Every day is going to be exciting and different. In no time will you have the skills to play a famous melody of Mozart’s Singspiel “Die Zauberfloete”- Magic flute it is!!

All it will take of your time is just 5-20min a day!

Plus it is totally free of any charge. So no excuses, come on a journey with me.

Let’s get started and move to Berlin for

Day 1

of 14 days to the magic flute

In this video I will show you how to assemble and handle the flute. An overview of the keys and how to put the three pieces into the flute case. As a result, headjoint, body and footjoint will become familiar names to you, but best of all, I will show you all of this from my favorite Concert Hall, the Berlin Philharmonie. Have fun and start getting to know this beautiful instrument!

Day 2

of 14 days to the magic flute

In lesson 2 from 14 days to the Magic Flute, beginners will learn how to produce three sounds from the headjoint. Furthermore I am going to share with you everything to do and to avoid in the production of a good sound on the flute. But best of all, these teachings come to you from the Scala di Milano!

Day 3

of 14 days to the magic flute

This is for you if you are a total beginner and just starting out! Have you seen our first two lessons? You also need some fun and travel while learning how to play the flute? Well, today we are in the Carnegie Hall. Yesterday we were in Milan and the first day in Berlin. Why not come and join us on this journey to learn how to play the flute in 14 days!
Today I am going to show you how to tongue a sound on the flute and how tongueing in general works. We will not only play the headjoint, but put the whole flute together and play a B.
So bare with us, have some fun and learn how to play the flute in no time!

 

Day 4
of 14 days to the magic flute

In this lesson we are going to explore the right breathing technique for playing the flute. We use both chest and diaphragmatic breathing for the best result, more control and to avoid dizziness.

For follow up and more information please read topflute’s article about diaphragmatic breathing.

Furthermore watch this short video below and enjoy the Golden Hall of the Vienna Musikverein!

 

Day 5
of 14 days to the magic flute

In this lesson you are going to learn the tongueing and fingering of your first 3 notes on the flute!

The beautiful concert hall that I am speaking to you from is no other than the Royal Albert Hall in London.

Enjoy your lesson and be sure to come back for lesson 6!

Day 6
of 14 days to the magic flute

Lesson 6 will show you notes and rests, so how to start and how to finish them. But today we will emphasize the right posture when playing and also the cleaning of the flute from the Concertgebouw in Amsterdam.
Moreover, today we prepare to play our first little piece tomorrow!

 

 

Day 7
of 14 days to the magic flute

Today we finally play an actual little piece of music and learn where to breathe in between notes and where to keep playing instead. Our venue for this one week accomplishment is no less than the fantastic Boston Symphony Hall with world class acoustics. It is actually listed in the National Register of Historic Places in the United States of America. So enjoy your first piece of flute music!

 

Day 8
of 14 days to the magic flute

In lesson 8 we discover slurs as opposite to tongueing the second note to the first. We will play in a precise tempo: 4 quarters and even slur all four quarters. A childrens’ song will be our goal for today: Mary’s Lamb. In addition we are learning all these new things directly from the Teatro Colon in Buenos Aires!

Day 9
of 14 days to the magic flute

What a wonderful day it is! We will stay outside for our lesson and learn to read notes on the staff. Lesson 9 is about three new notes e f# and d, with fingering chart and staff.

We will be introducing faster notes than the fourths that we already know: eighths. And all of this in the wonderful climate of Tenerife Santa Cruz.

Lesson 9 b-d fingering and staff reading

Its famous Auditorio is said to remind one of the Sydney Opera House. What do you think?

Day 10
of 14 days to the magic flute

In the wonderful Bolshoi theatre you will be introduced into a Rossini Ouverture and be able to play the most famous excerpt from Guglielmo Tell!
Lesson 10 of the 14 days to the Magic Flute also features new duration and pauses: halfs and rests. You will learn to become faster with your tongueing in a playful way, without even knowing it! Even on the low notes. So join us and have fun!

Lesson 10 Guglielmo Tell excerpt

 

Day 11
of 14 days to the magic flute

Lesson 11 is coming to you directly from the Walt Disney Concert Hall in downtown Los Angeles!

It opened in 2003 and is the home to the Los Angeles Philharmonic Orchestra. The structure of the concert hall is a compromise between the arena seating configuration that we found on the first lesson in the Berlin Philharmonie and the classical shoebox design like in the Boston Symphony Hall and the Golden Hall of the Vienna Musikverein. Fascinating choice and well worth the long period of adaptation for the Symphony Orchestra.

Today we introduce a new note, the c! We will read single eighths and eighths rests. Also you will understand the difference between slurs and ties and it will be like a piece of cake because we will learn those things with Elsa’s song from Frozen “Let it Go”. So have fun!

Lesson 11 c, ties, Let it Go

 

Day 12
of 14 days to the magic flute

Lesson 12 has been filmed in the National Centre for Performing Arts in Beijing! Not really, but it would have been nice… In this lesson in China we will start playing the first part of our final song, the aria of the bird catcher from the Magic Flute by Mozart.

To be able to do that we need to be able to play the d in the second octave of the flute as well. So you will learn this huge jump from the lower to the middle octave of the flute. It will be fun, because it is immediately introduced with the allegro dotted rhythm of Mozart’s song.

No worries, just playing and finding things out in the NCPA Beijing, China.

Lesson 12        d2, dotted notes, Birdcatcher Melody part 1

 

Day 13
of 14 days to the magic flute

Lesson 13 will introduce sixteenths, and not just one, but four of them in a row! You will learn how to slur them even to the next quarter to be able to play the bird catcher’s call. We will treat this as a game and just not yet read the notes written out. Have fun running up and down the G Major Scale in front of another famous scale: The cerimonial entrance of the Operà Garnier in Paris.

In its catacombs is where the novel of the Phantom of the Opera is set and it has later inspired the famous musical by Andrew Lloyd Webber.

Day 14
of 14 days to the magic flute

Lesson 14 and we are home. Back in Berlin, where we started two weeks ago! I am speaking to you from my favourite concert hall in Berlin, the Konzerthaus Berlin.

Today you will be introduced to the concept of upbeat and downbeat and finally play the whole melody of the brid catcher song from the Magic Flute, a Singspiel by W. A. Mozart.

Lesson 14 sixteenths, upbeat, breathing, Mozart Magic Flute

14 days to the magic flute – how to play the flute in 14 days


 

So, it is true! It is only 14 days to playing the flute. Moreover, 14 days of fun and travel, excitement and news from famous conThanks for watching!cert halls. Why would anyone want to miss out on this?

Do you have any questions or comments? I will be more than happy to answer them from the comment section below. If you do not yet possess a flute, have a look at my recommendations for beginner flutes and textbooks.

You had fun following me around the world and learning how to play the flute in just 14 days? Please support me by buying through my links (with no additional cost to you) and share, like and spread the flute passion by commenting, subscribing, liking and sharing our

Facebook page, YouTube Channel and this website.

Thanks for reading and watching!

 

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Feel free to download or share any media files in this article and if you need the PDF files of staffs and fingering charts, please ask in the comment section below and I will gladly send them to you via email.

In the hope that you will become a great flutist, why don’t you check out my recent article with tips and tricks for a healthy flute life?

Thumbs up, but only for the C 😉

flute hacks

 

 

Janie

www.topflute.com