Music for All Summer Symposium presented by Yamaha www.musicforall.org

Flute Master ClassMihoko Watanabe

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Tone Production For Flutists

M U S I C F O R A L L

J U N E 2 0 1 3

©2013 Mihoko Watanabe

I: Common Problems in Flute Playing - Intonation - Dynamics - Tone - Musicality - Articulation - Rhythm - Notes - Technique - … II: Important Elements of Flute Playing

III: Check List 1) Instrument The Flute must be in good working order.

ü Assemble - Never grasp the flute by the keys and apply pressure to the mechanism.

ü The screws ü Swab flute after each use

- Shrinkage or expansion of the pads -> leaks - Never put the cleaning swab in side of the flute or in side of the case.

ü Locate a skilled repairman - take the flute to have clean, oil and adjust yearly or every semester.

1) Balance(Standing/Sitting)

2) Relaxation 3) Breathing

TONE

IntonationDynamics/Color

ArticulationMusicality/Technique

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©2013  Mihoko  Watanabe

2) Listening Everybody needs to have a good tone concept in your ear.

ü Listening to Flutists around the world ü Go to live performances ü Listening to recorded performances ü Ask yourself to describe the tone quality that you like ü Listen to yourself and experiment to make the sound ü Remember how did you make the sound

3) Balance Balance with your body (alignment) is the most important elements of making music in life.

ü Head – hold up with ears over shoulders ü Shoulder blade (Wings!) down (Open chest area) ü Spine – do not over extend ü Feet – on the floor ü Sitting position

- Never use chair as crutch ü Hand position

- Three-point-balance: Chin, left index finger, and right thumb - Curve all fingers - Never squeeze the keys 4 ) Relaxation Relaxation is the key to have good breathing.

ü Open your chest area ü Your shoulder blades (WINGS!) are relaxed ü Relax your abdominal area ü Relax your pelvis area ü Relax your fingers

o Relaxation exercise (sitting/standing) Mountain Pose Forward Bend Bow Pose Half-Moon Pose

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©2013 Mihoko Watanabe

5) Breathing Successful air management (in and out) is the beginning of successful music making.

ü Open mouth by dropping the jaw slightly. ü Inhale with saying “HOW” ü A deep, full breath will cause expansion of lungs in the back. ü Think about even outflow of air. ü Feel the air pressure. ü Develop steady air stream, air capacity, and the quick breath.

oBreathing Exercises - With/without a piece of paper - Thumb breathing oUse of exercise ball - 55cm, 65cm, and 75 cm diameter balls are available.

- Sit down on the ball with 90 degree angle of knee to the floor. o Other Useful Yoga poses:

Child’s Pose Tree Pose Downward Face Dog Triangle

Twist Pyramid

IV: Recommended Resources For Tone Development and Technique üDe La Sonorité by Marcel Moyse, published by Alphonse Leduc, 1934. ü17 Grands Exercices Jounaliers de Mecanisme by Paul Taffanel and arranged by Philippe Gaubert, published by Alphonse Leduc. ü24 Petites Etudes Melodiques by Marcel Moyse, published by Alphonse Leduc, 1928. üTechnical Flexibility for Flutists by Geoffrey Gilbert, published by Southern Muisc Company, 1988. üTone Development Through Interpretation for the Flute Marcel Moyse, published by McGinnis & Marx Music Publishers, 1962. üA Trevor Wye Practice Book for the Flute: Omnibus Edition Books 1-5 by Trevor Wye, published by Novello.

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©2013 Mihoko Watanabe

- A Trevor Wye Practice Book for the Flute: Volume 1, Tone (with CD) by Trevor Wye, published by Novello. - A Trevor Wye Practice Book for the Flute: Volume 2, Technique by Trevor Wye, published by Novello. - A Trevor Wye Practice Book for the Flute: Volume 3 Articulation by Trevor Wye, published by Novello. - A Trevor Wye Practice Book for the Flute: Volume 4 Intonation & Vibrato by Trevor Wye, published by Novello. - A Trevor Wye Practice Book for the Flute: Volume 5 Breathing & Scales by Trevor Wye, published by Novello. - Trevor Wye Practice Book for the Flute: Volume 6 Advanced Practice by Trevor Wye, published from Novello. üCHECK-UP/20 Basic Studies for Flutists by Peter-Lucas Graf, published by Shott. üSequence for Flute by Geoffrey Gilbert, published by Southern Music Company. For Balancing and Breathing üBody Mapping for Flutists: What Every Flute Teacher Needs to Know About the Body by Lea Pearson, published by Andover Press. üWhat Every Musician Needs to Know about the body: the application of Body Mapping to Making Music by Barbara Conable, published by Andover Press. ANY QUESTIONS: Contact - Dr. Mihoko Watanabe at E-mail watanabe@bsu.edu

Photos of Various Flute EmbouchuresThe following material has been taken directly from:

Artistic Flute Technique and Studyby Roger S. Stevens

Hollywood: Highland Music Company. (1967) pp.14-16(currently out of print)

It is published here with the kind permission of Roger S. Stevens.

Many thanks to Pauline Mancuso for scanning the photos and for her generosity in helping to create this page.Thanks also to Jim Lasota for putting me in touch with Roger Stevens.

"The flutists whose embouchures are illustrated are highly accomplished musicians with better thanprofessionally average tones. Most are professional or semi-professional career people, although one or two arestrictly students with fine tones.

The purpose of these illustrations is one of demonstrating the wide variation in embouchures capable ofproducing a good flute tone."

A: Natural, symmetrical, making excellent use of the lower lip, and retaining optimum distance from theembouchure hole.

B: Natural, symmetrical, making excellent use of the lower lip, and retaining optimum distance from theembouchure hole.

C: Natural, symmetrical, inclined to be almost too far from the embouchure hole.

D: Natural, slightly pulled to the left side; lower lip in position for maximum use.

E: Natural, pulled slightly to the left; full upper lip retained high so that inner, more sensitive area of lip is used.

F: Natural, symmetrical, flexible lower lip capabilities; slight "tear drop" in upper lip pulled flat rather than to oneside.

G: Nearly symmetrical but with upper lip irregular in contour and therefore rolled slightly out to use inner surfacewhere irregularities are controllable. (Caution: upper lip must not move too close to embouchure hole.)

Larry Krantz Flute Pages: Flute Embouchure Photos http://www.larrykrantz.com/embpic.htm

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H: Natural, pulled to the right, with only the playing surface of a full upper lip rolled outward; lower lip in excellentposition to perform.

I: Both lips full and both lips irregularly contoured; embouchure pulled to the right and located between theirregularities; both lips rolled slightly out to obtain use of more sensitive, inner surface.

J: Symmetrical, upper lip almost straight across, thin lower lip rolled out to provide good playing surface.

K: Extreme pull to the left to avoid heavy "tear drop"; air enters flute at an angle from the left. (Problematical.)

L: Pulled to the right, heavy lips rolled out for sensitivity; no "tear drop".

M: Nearly symmetrical; large "tear drop" virtually eliminated by muscular pull in upper lip, lower lip in excellentposition for use.

N: "Tear drop", both lips irregular, appature pulled to the left, lower lip inadvantageously located, danger of upperlip smothering embouchure hole.

O: Very large "tear drop" avoided with appature pulled to the right, lower lip rolled out for maximum sensitivity atpoint of aperture.

P: "Tear drop" avoided by rolling upper lip up and out; relatively irregular lower lip, nevertheless in good positionfor optimum use.

Q: Extremely large and heavy "tear drop" avoided by pulling only upper lip to the right; lower lip nearlysymmetrical and in good, natural position for effective use.

R: Both lips unusually heavy and irregular; aperture located to the left with flute moved to the left to coincide.

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Larry Krantz Flute Pages: Flute Embouchure Photos http://www.larrykrantz.com/embpic.htm

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