Blowingtechnique, pros and cons

[Axeman]

Hi.
I've been thinking about the blowingtechnique I'm using. At first, when I started playing I used to tongue the notes, probably since I'm originally a saxophone player. I then found out that the "proper" way to do it was not to tongue the notes but to use more like a deep "Ha" from the stomach region to produce the notes. I tried this for quite some time. However, I soon found that I liked the sound of my flute better when I was tongueing the notes so I switched back to tongueing again.
What I would like to know is if there are any real benefits when using the not-tongueing technique? I didn't think it was easier, or harder, not to tongue the notes than to tongue them.
Are there any reasons to give the Ha-technique another go? If not I'll stick with the way I'm playing now.

Any advice would be appreciated.

[crookedtune]

Diaphragm, throat (glottal stops) and tongue are all contributors to good technique and should be used in whatever mix comes to define your own style.

[TheSpoonMan]

Also, the tendency in Irish music is to tongue as little as possible... seperate the notes with ornaments instead. Doesn't mean tonguing's bad, but I think it's worth it to know how to play every tune you know at least decently without tonguing at all.

[BrendanB]

If you are interested in playing traditional Irish music, you really should learn how to use glottal stops instead of tonguing. As was already mentioned, tonguing isn't really used in traditional playing. While there are certainly players who use it, its not considered very traditional, and is generally not the main method of articulation.

Glottal stops are used primarily to create rhythm, not just separate notes. If your playing sounds the same using both tonguing and glottal stops, you should have a listen to some recordings of players who use glottals to create strong rhythm, since you are probably missing some of the desired effect. A few suggestions would be John McKenna, Peter Horan, Kevin Henry, Catherine McEvoy, Colm O'Donnell, Harry Bradley, Conal O'Grada, the list goes on.

Hope that helps,
Brendan

[Cubitt]

Think like a piper. Pipers do not have the option to tongue. You will find by so doing that you are forced to find ornaments that are as functional as they are decorative to the piece. That's all to the good.

BTW, glottal stops are more of a cough than a "ha" sound. If you use "ha," the attack will be less controlled and the flow of air will not be well controlled.

[Ro3b]

Gosh, you'd think we'd have had this discussion before now.

I think it's absurd to call one form more "traditional" than another. It all depends on what style of flute playing you're into. Catherine McEvoy and Conal O'Grada, who use glottal stops and don't tongue, are stylistically very different from Eamonn Cotter, Paul Roche, and Kevin Crawford, all of whom tongue. Just do a bunch of listening and figure out what you like.

(Edited for snarkiness)
(Edited again for grammar egregiousness. It wasn't a good morning.)

[Denny]

Gosh, you'd think we've have had this discussion before now.

be the goldfish

[Axeman]

Thanks for your advice and opinions everyone. While thinking about it I've found that I'm using some sort of combination of the different techniques. When I start of a phrase or want to put some accent to the music I tongue the notes, otherwise I just let the melody flow on the airstream or, if suitable, put in some sort of ornamentation. Since my aim isn't to play as traditional as I can I think I'll keep trying to evolve my technique from where I am. It's a bit hard since I don't have anyone to teach me, I'm in sweden and irish fluteplayers seems to rare in my town. Thats why this forum is such a big help. Thanks everyone.

About the comment from BrendanB, I agree. I think listening to others is the fundament of learning to play. I've found myself a bit allergic to over-ornamemtation, for example Matt Molloys playing, I think it gets a bit fuzzy. Sure, I appreciate him as a very good player but I don't enjoy it that much. I Prefer Marcus Hernon or Lunansa, they keep it a bit more simple. Get's the tune itself through much clearer.

[Cork]

...It's a bit hard since I don't have anyone to teach me, I'm in sweden and irish fluteplayers seems to rare in my town. Thats why this forum is such a big help. Thanks everyone...

Hei, Axeman, hello to you in Sweden!

I like music from Sweden, too, including the music of Garmarna, Hedningarna, Triakel, and more.

Hei hei!

[Dragon]

Somehow for some reason I like you.

Gosh, you'd think we'd have had this discussion before now.

I think it's absurd to call one form more "traditional" than another. It all depends on what style of flute playing you're into. Catherine McEvoy and Conal O'Grada, who use glottal stops and don't tongue, are stylistically very different from Eamonn Cotter, Paul Roche, and Kevin Crawford, all of whom tongue. Just do a bunch of listening and figure out what you like.

(Edited for snarkiness)
(Edited again for grammar egregiousness. It wasn't a good morning.)

[Dragon]

This remindes me...what about flutter tounging? It has a great sound, but I almost never here it in "Irish" music.

[cocusflute]

[jemtheflute]

Ahhhh! The missing can of worms. We were looking for that on another thread recently. If I'd known you were harbouring it, Cocus....... but then perhaps I should have guessed!

[daiv]

i withdraw this comment.

[daiv]

This remindes me...what about flutter tounging? It has a great sound, but I almost never here it in "Irish" music.

abort! abort!

you might as well play irish bassoon, while you're at it.