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If you see condensation but no triangle, keep adjusting your embouchure until you see a more defined shape!īy moving your embouchure as little as possible, you will maximize your ability to switch quickly between notes.
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If the condensation makes a triangle, you are most likely getting a rich and full sound. When you use a mirror when you’re focusing on your embouchure, you’ll be able to watch the condensation that forms on the other side of your headjoint.
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Try and keep your embouchure stationary.Here are some general tips on flute embouchure as you practice or perfect your own playing!
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To learn more about embouchure for flute, read on! How To Blow Into a Flute In particular, flute embouchure is how you blow into the tone hole, and how you rest your lips on the lip plate. This article was originally written by Ian McLauchlan for the Flutewise magazine.Embouchure is the way you put your mouth against the instrument. But a headjoint can give you the potential to do more things. A headjoint can’t compensate for shortcomings in your playing – only hours of careful practice can do this. Remember when trying out headjoints to compare them to your own. If you can’t get into a hall, the next best thing is to ask someone to listen to you from outside the room you are playing in with the door closed. A string player will give you an honest answer, a flute player may have too many preconceived ideas. (String players seem particularly good at this, but in my experience don’t ask a flute player!)Īsk them which headjoint sounds louder at the back of the hall, and also which sounds ‘best’ to him, which he prefers. Choose a friend you can rely on to give good ‘musical’ advice. If you are able to take a headjoint home for a few days to try it then use the opportunity, if possible, to try it in a big hall.
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Others don’t appear so loud close up, but the sound seems to travel better, it ‘projects’. Some headjoints appear to play very loudly close up, but cannot be heard at the back of a concert hall. Less easy to check for this one! The help of a friend is useful here. Next, try a much harder sound with lots of harmonies again in different octaves ( Moyse 24 Easy Melodic Studies No. It is very important that a headjoint is capable of producing a similar quality of sound throughout the full range. Go up one octave and see if you can produce the same sort of sound. Play low, simple tunes such as Fauré’s ‘Pavane’ or the ‘Aquarium’ from ‘Carnival of the Animals’, and aim at a very hollow, open sound. Try to get an idea of the range of colours available. Also try without the tongue, diaphragm only. Simple scales played slowly will be a good guide. 2 ArticulationĬompare the ease of producing good, clean starts to tongued notes with your existing headjoint. Here, the ability to keep the pitch up is important.Īlways compare the results with your existing headjoint as you cannot expect a new headjoint to cure your own playing difficulties! Don’t forget to try all three registers. Obviously try the same test with soft playing. As we all know, when playing loudly it is all too easy to go sharp, so how easily can you pull the pitch down to concert pitch at the extreme of loudness (use a tuning machine as a guide to help you). It should also play quietly in all three registers whilst being controllable regarding pitch. It should play very loudly in all three registers with a good quality of sound. 1 Dynamic rangeĪ good headjoint should be capable of producing a good dynamic range. I’ll deal briefly with these, point by point. There are really four basic things to think about when trying headjoints: The headjoint of the flute is probably the most ‘personal’ part of the instrument: a headjoint that plays well for one person might be another player’s idea of hell! For this reason, no hard and fast rules can be given as to what makes the “best” headjoint, but a few guidelines might be useful.