Like most aspects of flute playing improving tone is a gradual progressive process.
What, at any stage, are the small changes, adjustments or awareness that made a noticeable difference on tone?
Improving tone
- mendipman
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- Tell us something.: I play flute and stringed instruments and enjoy playing in sessions and for step dancers and teach music part-time. My flutes are a new Gilles Lehart blackwood keyless in D, a c.1820 Clementi 'Nicholson improved' English boxwood single key in F and a simple-system 8-key English blackwood flute made by Richard Weekes of Plymouth, Devon c.1840 both in beautiful, pristine condition. I also have a wooden c.1880 English keyed flageolet. My home is in North Somerset a short distance from where my family come from at Blackford in the Mendip Hills and my repertoire are the tunes that are local to my area. That is the rural vernacular English music from when ordinary working people simply played and danced to their own rhythm with little concern for that which lay beyond a day's walk.
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- jiminos
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Re: Improving tone
For me... Becoming aware, and staying aware, of my embouchure and keeping tight and focused.
Jim
the truth is not lost.
do not search for it.
accept it.
the truth is not lost.
do not search for it.
accept it.
Re: Improving tone
Playing higher pitched flutes/fifes helps a good deal, since the embouchure is more demanding.
- oleorezinator
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Re: Improving tone
Long tones.
Octave slurs for flexibility.
Octave slurs for flexibility.
Information is not knowledge.
Knowledge is not wisdom.
Wisdom is not truth.
Truth is not beauty. Beauty is not love.
Love is not music. Music is the best.
- Frank Zappa
Knowledge is not wisdom.
Wisdom is not truth.
Truth is not beauty. Beauty is not love.
Love is not music. Music is the best.
- Frank Zappa
- Terry McGee
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Re: Improving tone
1. Making sure that your flute is working perfectly.
2. Making sure that your flute suits you.
3. Trying out the approach outlined at http://www.mcgee-flutes.com/Getting_the ... k_tone.htm
4. Go back to #2.
1. It's easy not to notice that your flute is leaking a bit, or even was born with an impediment. Getting someone else to try it is one option. Or trying someone else's flute might give you a hint.
2. Despite a lot of rhetoric that <insert name of personal hero here> makes the best flutes in the world, there is plenty of evidence that nobody does. They might make the best flutes for you, or her, or heaps of people, but they won't make the best flutes for him, or them, or lots of other people. Your responsibility as a flute player requires you to take every opportunity to try flutes by other makers, alive or dead. Never miss an opportunity.
3. This is my best effort so far in terms of trying to make the 19th century approach accessible.
4. If you do radically change your embouchure approach, you might find that what was your best-suiting flute is no longer! Damn!* Go back to #2. Do not collect $200....
(*Still, it keeps flute-makers in work.....)
2. Making sure that your flute suits you.
3. Trying out the approach outlined at http://www.mcgee-flutes.com/Getting_the ... k_tone.htm
4. Go back to #2.
1. It's easy not to notice that your flute is leaking a bit, or even was born with an impediment. Getting someone else to try it is one option. Or trying someone else's flute might give you a hint.
2. Despite a lot of rhetoric that <insert name of personal hero here> makes the best flutes in the world, there is plenty of evidence that nobody does. They might make the best flutes for you, or her, or heaps of people, but they won't make the best flutes for him, or them, or lots of other people. Your responsibility as a flute player requires you to take every opportunity to try flutes by other makers, alive or dead. Never miss an opportunity.
3. This is my best effort so far in terms of trying to make the 19th century approach accessible.
4. If you do radically change your embouchure approach, you might find that what was your best-suiting flute is no longer! Damn!* Go back to #2. Do not collect $200....
(*Still, it keeps flute-makers in work.....)
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I am also whistle player and maker. I'd like to share opinions about whistles and learn from some other people experiences. - Location: CADIZ
Re: Improving tone
1.- Breathing properly and controlling air stream from and throught the diafragm.
2.- Using lips by keeping them tight but relaxed at the same time.
3.- Using your body as a resonator, specially opening throat and creating as much as space possible in your mouth while you are playing by dropping the jaw (this is basically singing technique applied by most Böhm flute players).
4.- Some tools such as "Pneumo Pro" help a lot with air stream focusing. (have a view throught internet)
5.- Having a look to some classical Böhm players videos like Emmanuel Pahud (play with a pro) or Nina Perlova might also help. They are always talking about sound production and tone quallity.
2.- Using lips by keeping them tight but relaxed at the same time.
3.- Using your body as a resonator, specially opening throat and creating as much as space possible in your mouth while you are playing by dropping the jaw (this is basically singing technique applied by most Böhm flute players).
4.- Some tools such as "Pneumo Pro" help a lot with air stream focusing. (have a view throught internet)
5.- Having a look to some classical Böhm players videos like Emmanuel Pahud (play with a pro) or Nina Perlova might also help. They are always talking about sound production and tone quallity.
Guille
Clementi Improved 1830-restored by Chris Wilkes, 8 keys (Cocus wood)
Clementi Improved 1830-restored by Chris Wilkes, 8 keys (Cocus wood)
- mendipman
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- Tell us something.: I play flute and stringed instruments and enjoy playing in sessions and for step dancers and teach music part-time. My flutes are a new Gilles Lehart blackwood keyless in D, a c.1820 Clementi 'Nicholson improved' English boxwood single key in F and a simple-system 8-key English blackwood flute made by Richard Weekes of Plymouth, Devon c.1840 both in beautiful, pristine condition. I also have a wooden c.1880 English keyed flageolet. My home is in North Somerset a short distance from where my family come from at Blackford in the Mendip Hills and my repertoire are the tunes that are local to my area. That is the rural vernacular English music from when ordinary working people simply played and danced to their own rhythm with little concern for that which lay beyond a day's walk.
- Location: Somerset, England
Re: Improving tone
Thank you all for your interesting answers.
I haven't heard of Pneumo Pro and will take a look at it. I try to control my breath from my diaphragm.
My post was inspired by an interest in whether fellow flute players can recall a specific 'light bulb moment' that made a noticeable difference to tone once you had already developed quite a nice tone? I'm pleased with the improvement in tone that I'm making but very curious as to the factors that draw more of the sound/tone available from the flute.
My main flute is a Lehart, new with no leaks or issues and it feels a nice fit for me.
I haven't heard of Pneumo Pro and will take a look at it. I try to control my breath from my diaphragm.
My post was inspired by an interest in whether fellow flute players can recall a specific 'light bulb moment' that made a noticeable difference to tone once you had already developed quite a nice tone? I'm pleased with the improvement in tone that I'm making but very curious as to the factors that draw more of the sound/tone available from the flute.
My main flute is a Lehart, new with no leaks or issues and it feels a nice fit for me.
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Re: Improving tone
My big insight is that good tone takes steady, consistent effort. Time, practice, repetition.
Time and effort on long-tones, scales, arpeggios, chord progressions does not produce instant results, but then you hit moments where you really notice how far you have come.
Time and effort on long-tones, scales, arpeggios, chord progressions does not produce instant results, but then you hit moments where you really notice how far you have come.
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- Tell us something.: I am Böhm flute player but I play irish flute as well since one year.
I am also whistle player and maker. I'd like to share opinions about whistles and learn from some other people experiences. - Location: CADIZ
Re: Improving tone
To me, the tone roots on the way you control your airstream, your embouchure (how much do you cover, the angle in which you blow against the blade, lips shape...) and the space you are able to create inside your body (Troat and mouth). Those 3 aspects define your tone.mendipman wrote:Thank you all for your interesting answers.
I haven't heard of Pneumo Pro and will take a look at it. I try to control my breath from my diaphragm.
My post was inspired by an interest in whether fellow flute players can recall a specific 'light bulb moment' that made a noticeable difference to tone once you had already developed quite a nice tone? I'm pleased with the improvement in tone that I'm making but very curious as to the factors that draw more of the sound/tone available from the flute.
My main flute is a Lehart, new with no leaks or issues and it feels a nice fit for me.
On the other hand, the flute itselft does a lot, but specially the shape of the headjoint. In my short experience, I would say those headjonints with and eccentric bore allow to have a longer and bigger riser (longer blowhole from the outside to the inside of the flute), which is able to make a more solid and powerfull tone. But also the shape of the blowhole itselft defines the tone quallity and how easy is to control (More square blowholes seem to be easier in tone control than more oval ones, at least to me). And I would also say the "sharpness" of the blade defines the "colour" of the sound.
Then of course it is the choice between flute models: R&R, Pratten or new ones that combine advantages of both.
Guille
Clementi Improved 1830-restored by Chris Wilkes, 8 keys (Cocus wood)
Clementi Improved 1830-restored by Chris Wilkes, 8 keys (Cocus wood)
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Re: Improving tone
I had a couple of lightbulb moments: first one was when I learned that one could play the high notes very very quietly. Sean Gavin had me stand in front of a mirror and look at the size of the opening in my lips and try to make it smaller and smaller until it was the size of a pin hole. He had me start a high g with that tiny airstream, activates by a puff from my diaphragm, then try to make it as quiet as possible.
Another moment was when he had me play a low G, then hold my right hand (I’m a right handed player) out in front of my mouth to feel how much air was going out over the hole. He said your airstream splits in two, part of it goes in the flute and part passes over. You want to make as much air go into the flute as possible. I realized I was blowing too far over the flute, which was why my second octave wasn’t crisp.
The third lightbulb moment was when I realized that my embouchure opened more in the low notes and tightened greatly in the second octave. Again using a mirror, I could watch the size gradually shift to a smaller and smaller air hole as I went up the scale.
Another moment was when he had me play a low G, then hold my right hand (I’m a right handed player) out in front of my mouth to feel how much air was going out over the hole. He said your airstream splits in two, part of it goes in the flute and part passes over. You want to make as much air go into the flute as possible. I realized I was blowing too far over the flute, which was why my second octave wasn’t crisp.
The third lightbulb moment was when I realized that my embouchure opened more in the low notes and tightened greatly in the second octave. Again using a mirror, I could watch the size gradually shift to a smaller and smaller air hole as I went up the scale.