So I would say thinking in a thin air current is good. In my philosophy the way you think has an essential influence in how you make a sound. It just means don't think in blowing, think in resonance. I found that sometimes this gives the misunderstand that players think he means sort of a hollow aaaaahhh. It means that you think less in projecting forward by blowing and more in resonance inside the body for making a tone. For a Boehm flute you use the first for a baroque flute the second. You have two kinds of breath, one used for blowing out a candle, the other for warming your hands in the winter. Even in the low lands, Holland and Belgium this is the case.īart Kuijken has a story of breath that goes as follows. About a finger thick distance is needed on the traverso.Ī subject with many different views. However this has a strong influence on the intonation if done on the baroque flute. Closed hole Boehm flute players are used to have the fingers as close as possible to the keys. A different point is the distance of the fingers to the holes. The right hand is less difficult but also there the thumb positions should get some attention. Bring the flute embouchure to the mouth, usually the position then is very good. I have the player let the flute rest on the three fingers on the holes hanging on an outstretched downward arm, totally relaxed. It should also be sticking a bit past the flute. So we have to do what Quantz says in the bible for baroque flute players: have the thumb in the position opposite the middle between the first and second finger. Even if you have big hands the flexibility for the third hole may not be too good. Position on the baroque flute the third hole may be more difficult to reach if you do not have big hands. So you have to find out what is best for your hands.īoehm flute players are used to a b♭ key for the thumb. Lets take it step by step.įirst of all hands are different. On a traverso each note has a different quality and should be played differently!! Bach and his colleagues used this always to make different feelings. On a Boehm flute you would like all notes to have a similar quality. Before everything else there is the following problem that may be the most difficult for Boehm flute players. So maybe it is some information for Boehm flute players interested in the baroque flute or even adapting to the requirements of the instrument to read what I normally advise. I have by now a standard system to give them a beginning. However, at exhibitions and in my workshop I regularly meet Boehm flute players who have never played a baroque flute but would like to try or would like to buy. Boehm2Baroque I am not a professional player and have no pretences in that direction.
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