Texas Bandmasters Association
Bandmasters Review • June 2014
15
In dealing with flute tone, I have several favorite
techniques. First and foremost, I firmly believe that
a good sound for any wind instrument results from
proper air support found through a strong core. To
this end, players can practice while holding a sit up
or doing a squat (supporting yourself against a wall
will still engage the required muscles), or by sitting
in a chair and raising the lower legs to be parallel to
the ground. Another technique is humming while
playing—this engages the core while still demanding
enough air to make an actual sound. I recommend
playing through entire passages while humming.
For working on sound focus, I like to employ coffee
stirrers. The small hole in coffee stirrers (versus soda
straws) focuses the aperture (the opening in the lips
through which the air passes), allowing for a purer
tone. Blow through the coffee stirrer (perhaps even
“play” an entire line of music). Then remove the coffee
stirrer, but keep the aperture opening the same—you
should be able to make the same air sound as you did
with the coffee stirrer.
When playing, keep the back of the tongue low in
the mouth—this will help tremendously when playing
low or leaping in descending intervals. For playing
high, keep the mouth relaxed, the tongue low, and
the aperture small. To play low, keep the tongue low
and angle the air down with the top lip. Remember
that low notes and loud notes take a lot of air. To play
high and soft, you will use less air and more support,
and the lips will need to come forward slightly. Have
a firm contact of the flute (lip plate) to the bottom lip;
use your lips, but release any facial tension. The only
tension you need to use is the support in your core.
When working through your lyrical etude, be sure
to subdivide everything. Some etudes shift from one
kind of subdivision to another; you must accurately
be able to transition from triplets to sixteenths, and
to differentiate parts of subdivisions so that eighths,
sixteenths, thirty-second notes, and grace notes all
sound distinct. Subdivide within longer notes, so that
you don’t rush through them. Keeping a steady tempo is
part of rhythm, so be sure to practice with a metronome.
Many lyrical etudes have an incredible amount of
technical passage work. What may appear to be a slow
etude suddenly presents thirty-second and sixty-fourth
note passage work. Utilize the practice methods you
used in your technical etude for these moments. Perfect
the technique; then return that passage into the slower
etude and play it in context. Mark beats and parts of
beats, mark breaths, and know that the ends of tied
notes are often good places to breathe.
All-State Etudes can be beautiful pieces of music.
First and foremost, after all the work you have done to
perfect these selections, you must make music. Tell your
listener a story, paint a musical picture. If the etude has a
name or some programmatic material, you have already
been given a creative start. If not, make up your own—
you have wonderful ideas in your own mind!
Remember that technical etudes can be musical,
and lyrical etudes can be technical. It is possible to
play both kinds of etudes with technical perfection
and make them beautiful, musical performances. One
does not have to choose between being a technical or
musical player—you can be both!
Please remember that nothing takes the place of a
good teacher especially if you have access to a good
private lesson teacher. Even if you cannot go every
week (though regular, weekly lessons are best) go and
take some lessons. One-on-one instruction will give
you the detailed attention that will help you succeed.
Listen to your teacher and your band director(s),
record yourself when possible, and trust your own
musical instincts.
Best wishes for a successful season!
Dr. Christina Guenther is the Associate Professor of Flute at
Stephen F. Austin State University in Nacogdoches, Texas where she
has taught since 2005. In demand as a clinician and performer, she
is a founding member of the Gemini Flute Duo and the Silver Keys
Trio, and she performs as a member of the Stone Fort Wind Quintet.
Pract ice Tips for Learning Texas Al l -State Etudes