Reed Players Doubling on Flute
Citation: Ruyle, Eric. "Reed Players Doubling on Flute." Flute Talk, July/Aug. 2002, Vol. 21, p. 18.
Article Title: Reed Players Doubling on Flute
Author: Eric Ruyle
Instrument: General Woodwinds
Magazine or Journal Title: Flute Talk
Summary:
I. Doubling on Flute
1. Some reed players want to take flute lessons
2. Many get frustrated and limited progress
3. Many are impatient with struggle of learning a new instrument
4. Flute teachers don't recognize reed habits interfering with flute playing
II. Reed players
1. Clarinet and Sax players often have thin tone in third octave: flute to firm against chin
2. Initial afraid the flute will fall: press harder to chin
3. Rockstro method: position flute, turn headjoint in slightly, roll body out
a. Method places mechanism rods over center of flute
b. Better balance with less hand pressure
III. Embouchure
1. Shotgun barrel, aim the air
2. Will help doublers stop pinching, relax bottom lip
IV. Articulation
1. Tend to tongue too hard, with embouchure changing shape each time
2. Building endurance is difficult when not playing in ensembles
3. NO need to curl or force tongue to articulate
4. Incorrect syllables used, causes too much force
5. Practice without using any articulation
6. Use scales to introduce tongue: use pentatonic and various modes as well
V. Repertoire
1. Teachers pick solos and etudes match technical knowledge and finger technique of student
2. Doublers lack lip dexterity to play standards
3. Fourty Studies by Hughes, Fifty Melodic Studies by Demersseman
a. Short, little articulation
VI. Practice
1. Devoted to tone studies and harmonics
2. Long tone exercises should be used
3. Teachers must understand physical differences between flute and other woodwinds
Article Title: Reed Players Doubling on Flute
Author: Eric Ruyle
Instrument: General Woodwinds
Magazine or Journal Title: Flute Talk
Summary:
I. Doubling on Flute
1. Some reed players want to take flute lessons
2. Many get frustrated and limited progress
3. Many are impatient with struggle of learning a new instrument
4. Flute teachers don't recognize reed habits interfering with flute playing
II. Reed players
1. Clarinet and Sax players often have thin tone in third octave: flute to firm against chin
2. Initial afraid the flute will fall: press harder to chin
3. Rockstro method: position flute, turn headjoint in slightly, roll body out
a. Method places mechanism rods over center of flute
b. Better balance with less hand pressure
III. Embouchure
1. Shotgun barrel, aim the air
2. Will help doublers stop pinching, relax bottom lip
IV. Articulation
1. Tend to tongue too hard, with embouchure changing shape each time
2. Building endurance is difficult when not playing in ensembles
3. NO need to curl or force tongue to articulate
4. Incorrect syllables used, causes too much force
5. Practice without using any articulation
6. Use scales to introduce tongue: use pentatonic and various modes as well
V. Repertoire
1. Teachers pick solos and etudes match technical knowledge and finger technique of student
2. Doublers lack lip dexterity to play standards
3. Fourty Studies by Hughes, Fifty Melodic Studies by Demersseman
a. Short, little articulation
VI. Practice
1. Devoted to tone studies and harmonics
2. Long tone exercises should be used
3. Teachers must understand physical differences between flute and other woodwinds