Position:Home>Performing Arts> Any tips for a flutist @all county?

I am a flute teacher, and competition judge here in NY!. This piece requires VERY accurate counting - you should mark in where the main beats fall in each measure!. There are also many rapid triplet figures, most of which act a pickups!. Practice them slowly until they are clean -some would benefit by the use of alternate fingerings, if this moves a a rapid tempo!. Again, use of the metronome would help - play thru, and mark those spots that you CANNOT play yet at speed, and then go back and fix them!.

I find it a little odd that you were given a DUET for an audition piece, with so much fine solo literature out there!. Oh well - not for me to choose - I just hope this advice helps, and you do well!.

There is never any excuse for not having your scales and arpeggios PERFECT!. I am assuming that you must know all the majors, and the judge can CHOOSE any 3!. So - get a system of practice, and learn them!. It's like the alphabet or multiplication tables - you DO IT! No other advice needed here!Www@QuestionHome@Com

---

---

A flute produces sound when a stream of air directed across a hole in the instrument bounces in and out of the hole!.[7][8]

The air stream across this hole creates a Bernoulli, or siphon, effect leading to a von Karman vortex street!. This excites the air contained in the usually cylindrical resonant cavity within the flute!. The player changes the pitch of the sound produced by opening and closing holes in the body of the instrument, thus changing the effective length of the resonator and its corresponding resonant frequency!. By varying the air pressure, a flute player can also change the pitch of a note by causing the air in the flute to resonate at a harmonic other than the fundamental frequency without opening or closing any holes!.

To be louder, a flute must use a larger resonator, a larger air stream, or increased air stream velocity!. A flute's volume can generally be increased by making its resonator and tone holes larger!. This is why a police whistle, a form of flute, is very wide for its pitch, and why a pipe organ can be far louder than a concert flute: a large organ pipe can contain several cubic feet of air, and its tone hole may be several inches wide, while a concert flute's air stream measures a fraction of an inch across!.

The air stream must be directed at the correct angle and velocity, or else the air in the flute will not vibrate!. In fippled or ducted flutes, a precisely formed and placed windway channel extrudes the air!. In the organ, this air is supplied by a regulated blower!.

In non-fipple flutes, the air stream is shaped and directed by the player's lips, called the embouchure!. This allows the player a wide range of expression in pitch, volume, and timbre, especially in comparison to fipple/ducted flutes!. However, it also makes an end blown flute or transverse flute considerably more difficult for a beginner to produce a full sound than a ducted flute, such as the recorder!. Transverse and end-blown flutes also take more air to play, which requires deeper breathing and makes circular breathing a considerably trickier proposition!.

Generally, the quality called timbre or "tone colour" varies because the flute can produce harmonics in different proportions or intensities!. The tone color can be modified by changing the internal shape of the bore, such as the conical taper, or the diameter-to-length ratio!. A harmonic is a frequency that is a whole number multiple of a lower register, or "fundamental" note of the flute!. Generally the air stream is thinner (vibrating in more modes), faster (providing more energy to excite the air's resonance), and aimed across the hole less deeply (permitting a more shallow deflection of the air stream) in the production of higher harmonics or upper partials!. To quote acoustician Arthur H!. Benade[citation needed], "The fundamental frequency (scale) is determined by the internal cubic volume, but the upper registers (harmonics) are determined by shape alone!."

Head joint geometry appears particularly critical to acoustic performance and tone,[9] but there is no clear consensus on a particular shape amongst manufacturers!. Acoustic impedance of the embouchure hole appears the most critical parameter!.[10] Critical variables affecting this acoustic impedance include: chimney length (hole between lip-plate and head tube), chimney diameter, and radiuses or curvature of the ends of the chimney!.

There is a belief that the timbre may also be affected by the material from which the instrument is made!. For example, instruments made of wood are said[citation needed] to be less "bright"[11] than metal instruments!. Different metals are also thought[citation needed] to influence the tone!. However, a study in which professional players were blindfolded could find no significant differences between instruments made from a variety of different metals!.[12] In two different sets of blind listening, no instrument was correctly identified in a first listening, and in a second, only the silver instrument was identified!. The study concluded that there was "no evidence that the wall material has any appreciable effect on the sound color or dynamic range of the instrument"!. Unfortunatelty, this study did not control for headjoint design, which is generally known to affect tone (see above)!. Controlled tone tests show that the tube mass does make a difference and therefore tube density and wall thickness will make a difference!. [1] Some[citation needed] feel that relatively small differences in shape are more important than differences in material, because the waves in the air couple only weakly to vibrations in the body!. Wooden flutes usually have different shapes from metal instruments!. For example, the junctions between the tone hole risers and the bore are usually sharper in wooden instruments, and these sharper edges have an effect on the sound[citation needed]!.


[edit] Categories of flute

Playing the zampo?a, a Pre-Inca instrument and type of pan pipes!.In its most basic form, a flute can be an open tube which is blown like a bottle!. There are several broad classes of flutes!. With most flutes, the musician blows directly across the edge of the mouthpiece!. However, some flutes, such as the whistle, gemshorn, flageolet, recorder, tin whistle, tonette, fujara, and ocarina have a duct that directs the air onto the edge (an arrangement that is termed a "fipple")!. These are known as fipple flutes!. The fipple gives the instrument a distinct timbre which is different from non-fipple flutes and makes the instrument easier to play, but takes a degree of control away from the musician!.

Another division is between side-blown (or transverse) flutes, such as the Western concert flute, piccolo, fife, dizi, and bansuri; and end-blown flutes, such as the ney, xiao, kaval, danso, shakuhachi, and quena!. The player of a side-blown flute uses a hole on the side of the tube to produce a tone, instead of blowing on an end of the tube!. End-blown flutes should not be confused with fipple flutes such as the recorder, which are also played vertically but have an internal duct to direct the air flow across the edge of the tone hole!.

Flutes may be open at one or both ends!. The ocarina, pan pipes, police whistle, and bosun's whistle are closed-ended!. Open-ended flutes such as the concert flute and the recorder have more harmonics, and thus more flexibility for the player, and brighter timbres!. An organ pipe may be either open or closed, depending on the sound desired!.

Flutes can be played with several different air sources!. Conventional flutes are blown with the mouth, although some cultures use nose flutes!. The Flue pipes of Organs, which are acoustically similar to duct flutes, are blown by bellows or fans!.


[edit] The Western concert flutes
Main article: Western concert flute

An illustration of a Western concert fluteThe Western concert flute, a descendant of the 19th-Century German flute, is a transverse flute which is closed at the top!. Near the top is the embouchure hole, across and into which the player blows!. It has larger circular finger-holes than its baroque predecessors, designed to increase the instrument's dynamic range!. Various combinations can be opened or closed by means of keys, to produce the different notes in its playing range!. The note produced depends on which finger-holes are opened or closed and on how the flute is blown!. There are two kinds of foot joints available for the concert flute: the standard C foot (shown above) or the longer B foot with an extra key extending the flute's range to B below middle C!. There can also be a Bb below middle c foot joint added to the instrument!. With the rare exception of the Kingma system, or custom-devised fingering systems, modern Western concert flutes conform to the Boehm system!.

The standard concert flute is pitched in the key of C and has a range of 3 octaves starting from middle C (or one half-step lower with a B foot)!. This means that the concert flute is one of the highest common orchestral instruments, with the exception of the piccolo, which plays an octave higher!. G alto and C bass flutes, pitched, respectively, a perfect fourth and an octave below the concert flute, are used occasionally!. Parts are written for alto flute more frequently than for bass!. Alto and bass flutes are considerably heavier than the normal C flute, making them more difficult to play for extended periods of time!.

Other sizes of flute and piccolo are used from time to time!. A rarer instrument of the modern pitching system is the treble G flute!. Instruments made according to an older pitch standard, used principally in wind-band music, include Db piccolo, Eb soprano flute (the primary instrument, equivalent to today's concert C flute), F alto flute, and Bb bass flute (incidentally, the clarinet and brass families retain this orientation to a Bb, rather than C tonal centre)!.


[edit] The Indian Bamboo Flute
Soinari” is a kind of wind instrument that represents multirod flute!. Soinari originally comes from the Western part of Georgia, the region of Samegrelo (where it is called “Larchemi”) and the region of Guria (Soinari)!. Georgian Soinari (and Larchemi) consists of six pipes of different length!. Each pipe produces different sounds!. The larchem-soinari is made of cane!. The pipes are tied together with cord and bark!. Six pipes are tied so that there are 2 basses in the middle, 2 ”leaders” on the right, 2 “first voices” on the left!. The compass of the Larchemi (Soinari) is one-one and a half tones!. Two pipes are blown at the same!. Such blowing produces musical thirds!. Practically, there is no principal difference between Megrelian Larchemi and Gurian Soinari!. Gurian Soinari is comparatively smaller than Megrelian Larchemi!. It is interesting to note that pipes of Larchemi and Soinari are arranged in the following way: Www@QuestionHome@Com

---

---

Looking at that music, it does look like there are a lot of confusing spots!. When I had to learn tricky music, I set a timer for about 20 minutes, and I would work on a specific couple measures of the music, over and over again!. Anytime I messed up I went back to the beginning!.

I started off doing it very slowly, and eventually worked up to how it should be played!. Just train your fingers and engrave it into your mind like the alphabet!. Even if that means doing two measures at a time!. :)Www@QuestionHome@Com

---

---

Since my divorce, I have been out on several dates with a number of different women!. Some I was interested in, others not so!. Recently (a few weeks ago) I met a woman whom I am very interested in!. She is attractive, has a great sense of humor and a wonderful personality!. In short, I would really like to see this relationship last!.

Normally when I go out on a date, I dont have a problem with confidence or nerves!.!.!.At least I did not think so!. However in this case, I am having a problem with nervousness!. She even asked me about it last night after we watched the fireworks!. She does have a job that requires her to read people very closely, so I think she may be more perceptive to it than others!. She said she noticed it because when we are chatting, I tend to have a nervous laugh alot!.

So!.!.!. to help with nerves i just eat like 4 bowls of Ramen and do lots of PCP!!

hope it helped!Www@QuestionHome@Com

---

---

Well best thing to do it practice it slowly! Start the metronome at crotchet is 30 and gradually increase the tempo!. There are a few reasons for this! 1) So you leran the music with everything in it and no mistakes and 2) So that your fingers know where to go when your brain isnt concentrating! This is called muscles memory! If you get nervous then your brain isn't fully concentrating on your music your fingers wiul take over because they know where to go! Practice everything including dynamics, staccato's etc! Its boring practice but worth it!Www@QuestionHome@Com

---

---