MurphyStout wrote:All this talk has really made me think more of my diaphram support. Kinda a tricky thing to pick up cause it isn't exaclty obvious to me on what I should be doing cause nothing jumps out at me when I listen to other peoples recordings... Oh well, I'll figure it out sooner or later but what is my objective?
I'll jump in here even though I'm an idiot about flute playing and I'm not expert in Irish music, but I've listened to lots of music in many different styles, and I played french horn and other brass instruments for years, so I know a bit about breathing and diaphragm control.
First, even before reading what the others wrote, I had a similar impression -- it sounds like you're trying to make a clean recording with no mistakes, like you're "working" the tune instead of just letting loose and "playing" it. Maybe that's because you were recording yourself, at least partly. I do agree your rhythm control is excellent. And I like the breathy sound.
But the tune needs to dance and swoop and breathe. "Diaphragm support" isn't really the issue I hear...it's more of a lack of "direction" for how to approach the tune. The ability to "hear" accents, dynamics, ornaments, spaces, etc., while you're playing, and "allow" them to naturally come through, as if you were just singing the tune. To make the tune yours, how you'd most want to hear it. Techniques are just tools to allow that, they aren't "the answer" in their own right. Confidently using what techniques you have is FAR more important than having more techniques. So just imagine the tune, or sing it, and try to "feel" where a little PUNCH of air would give the tune a kick...and where a little hesitation or space would allow it to dance...and so forth. Then try to make it happen. This is a very different way of practicing compared to learning tunes or polishing techniques with exercises. This kind of "mastery" is incredibly important when playing with others (especially with only one or two people), so you can respond to what they're doing...for me, that's one of the most fulfilling parts about playing music, when two or three people are listening and responding simultaneously, with confidence, taste, and emotion.
I think that ability is what separates a real musician from a beginner or a dabbler. I know very good musicians who can pull it off even on instruments that they have a limited proficiency with, because it's an issue of taste, restraint, dynamics, and having an intimate understanding of the music, not an issue of technique.
As far as "breath pulsing" and diaphragm control go, I'm not sure what your question is (being an idiot and all). But, to get an accent or "support" a note, I give it a "punch" from my diaphragm, much like you're tensing up your stomach muscles to allow someone to punch you in the stomach without it hurting. You can ramp it up slowly to get a little crescendo, or give it a quick "punch" to get a bouncy accent, on both the on-beats or offbeats. That's what it sounds like to me that a lot of the more dynamic, syncopated flute players (the ones I like) do to get those nice little "swoops" and "barks."
