Pedagogy
Teaching the Flute Embouchure
Citation: Pearson, Bruce. Teaching the Flute Embouchure. Kjos Band News, Spring 2000, Vol. 1.<http://www.kjos.com/band/band_news/band_news_emb.html>.
Article Title: Teaching the Flute Embouchure
Author: Bruce Pearson
Instrument: Flute
Magazine or Journal Title: Kjos Band News
Summary:
A. Harder to teacher proper embouchure than to do it
B. How to form a good flute embouchure
1. Use mirrors on music stands to help students see their embouchure as they form it
C. Without the headjoint
1. Practice jaw flexibility and air projection by blowing up and down the arm
2. Practice pulling corner tight without moving rest of mouth
3. Pretend index finger is flute
4. Practice breathing deeply and expelling on "tu"
D. With the headjoint
1. How to set up a proper embouchure, be sure to use a mirror to check
2. Check aperture when expelling air; centered on the blow hole
a. Look for triangle of condensation when using the correct embouchure
3. Roll headjoint in and out to find the best tone
a. Tone is created by splitting the air stream with the opposite side of the blow hole
E. Results
1. Should play middle A on a closed head with proper embouchure
2. Should play next highest A on an open head joint
F. Learn Merrily, We Roll Along on just headjoint by inserting finger
Article Title: Teaching the Flute Embouchure
Author: Bruce Pearson
Instrument: Flute
Magazine or Journal Title: Kjos Band News
Summary:
A. Harder to teacher proper embouchure than to do it
B. How to form a good flute embouchure
1. Use mirrors on music stands to help students see their embouchure as they form it
C. Without the headjoint
1. Practice jaw flexibility and air projection by blowing up and down the arm
2. Practice pulling corner tight without moving rest of mouth
3. Pretend index finger is flute
4. Practice breathing deeply and expelling on "tu"
D. With the headjoint
1. How to set up a proper embouchure, be sure to use a mirror to check
2. Check aperture when expelling air; centered on the blow hole
a. Look for triangle of condensation when using the correct embouchure
3. Roll headjoint in and out to find the best tone
a. Tone is created by splitting the air stream with the opposite side of the blow hole
E. Results
1. Should play middle A on a closed head with proper embouchure
2. Should play next highest A on an open head joint
F. Learn Merrily, We Roll Along on just headjoint by inserting finger
After All The Breathing..., Embouchure and Hand Position: A Very Important Partnership, Warm Up: Daily Empowerment
Citation: Nelsen, Lisa and Naomi Seidman. After All The Breathing..., Embouchure and Hand Position: A Very Important Partnership, Warm Up: Daily Empowerment. Teach Flute, 3 Oct, 2012, <http://www.teachflute.com/>.
Article Title: After All The Breathing..., Embouchure and Hand Position: A Very Important Partnership, Warm Up: Daily Empowerment
Author: Lisa Nelsen and Naomi Seidman
Instrument: Flute
Magazine or Journal Title: Teach Flute
Summary:
A. Singers breath engaged before they sing
B. Wind players do the same and can quickly work on technical aspects of music
C. Quivering lip and jaw= not using air effectively
D. Exercises to help in breath support
1. In for 4, out for 4
a. Lock and unlock your knees to feel the difference, focus on knees
2. Breath in and out, stretch arms in time out, up, and to both sides with hips level and knees soft
3. Do circles with arms stretched outward from shoulders; clock wise and counter
4. Stretch shoulders, cross-arms and look right and left
5. Bend over and practice breathing in and out properly, gradually take faster breaths
6. Use flute and practice breathing directly into it for 4, out for 4, 6, 8 and so on
E. Embouchure and Hand position
1. Students make the quickest changes and adjustments to embouchure and hand position when understanding their relationship
2. Hand position can effect embouchure performance
3. Concepts learned on the headjoint suffer when used practically because of hand position
4. Hand position also how the player balances the instrument
a. Best way: chin, left index finger, right thumb
b. Should be able to balance with just these points of contact
5. Keys should be parallel to the ground
6. Thumb ports should not take away from the amount of low lip coverage
7. A rolled in or out headjoint will cause balance issues
F. Breathing
1. Effectiveness of breathing: more clear-headed approach, sense of control in tone production
2. Connect breath with instrument before beginning with tone exercises
3. Harmonics
a. Start on low D, use air speed to slur slowly up partials
4. Scales
a. 5-note scales by memory and repeat 4 times; focus on breath connection
5. Note bending
a. Practice bending 1/2 steps to work on lips and jaw movement and breathy sounds
6.Ugly sounds
a. Don't be afraid, working on connecting breath and will ultimately help with refining the sound
Article Title: After All The Breathing..., Embouchure and Hand Position: A Very Important Partnership, Warm Up: Daily Empowerment
Author: Lisa Nelsen and Naomi Seidman
Instrument: Flute
Magazine or Journal Title: Teach Flute
Summary:
A. Singers breath engaged before they sing
B. Wind players do the same and can quickly work on technical aspects of music
C. Quivering lip and jaw= not using air effectively
D. Exercises to help in breath support
1. In for 4, out for 4
a. Lock and unlock your knees to feel the difference, focus on knees
2. Breath in and out, stretch arms in time out, up, and to both sides with hips level and knees soft
3. Do circles with arms stretched outward from shoulders; clock wise and counter
4. Stretch shoulders, cross-arms and look right and left
5. Bend over and practice breathing in and out properly, gradually take faster breaths
6. Use flute and practice breathing directly into it for 4, out for 4, 6, 8 and so on
E. Embouchure and Hand position
1. Students make the quickest changes and adjustments to embouchure and hand position when understanding their relationship
2. Hand position can effect embouchure performance
3. Concepts learned on the headjoint suffer when used practically because of hand position
4. Hand position also how the player balances the instrument
a. Best way: chin, left index finger, right thumb
b. Should be able to balance with just these points of contact
5. Keys should be parallel to the ground
6. Thumb ports should not take away from the amount of low lip coverage
7. A rolled in or out headjoint will cause balance issues
F. Breathing
1. Effectiveness of breathing: more clear-headed approach, sense of control in tone production
2. Connect breath with instrument before beginning with tone exercises
3. Harmonics
a. Start on low D, use air speed to slur slowly up partials
4. Scales
a. 5-note scales by memory and repeat 4 times; focus on breath connection
5. Note bending
a. Practice bending 1/2 steps to work on lips and jaw movement and breathy sounds
6.Ugly sounds
a. Don't be afraid, working on connecting breath and will ultimately help with refining the sound
The Wide World of Flute Pedagogy
Citation: The Wide World of Flute Pedagogy. <http://www.angelfire.com/tn/angelflutes/pedagogy.html>.
Article Title: The Wide World of Flute Pedagogy
Author: None
Instrument: Flute
Magazine or Journal Title: N/A
Summary:
A. Body Awareness, Physiology and Posture: Have students...
1. Good body awareness helps practicing and performance skills
2. Stretching out before playing/ Let go of any excess tension
3. Practice in front of a mirror to be aware of natural positions and angles of the body
B. Patience and Overcoming Frustration: Tell your students...
1. Visualize music before you play it
2. Take a break if getting frustrated
C. Developing A Technical Foundation
1. Scales with a metronome
2. Etude Books
D. How To Practice
1. Keep a notebook: practice sessions, things to remember/work on
2. Work on basics first, then expand
3. Warm up properly- long tones, scales, patterns
a. Use proper techniques every time
4. Tonguing: practice double, triple, flutter
E. Embouchure
1. Specifics to look for in students embouchures
2. Ask specific questions, continually assess
F. Breathing, Vibrato, and Tuning
1. Tips for breath support and proper breathing
2. Vibrato from the diaphragm
3. Proper tuning
4. Keep in mind the angels of the jaw, air flow, and space between teeth
G. Musicality and Phrasing
1. Keep in mind the purpose behind the music
2. Make sure students mark in phrasing, breath points
3. Tone - colors, problems, etc.
J. Repair Techniques
K. Audience/Performance Etiquette
M. The Instruments
1. Different models for beginners, intermediates, professional, and performance flutes
2. Different aspects to look for when upgrading instruments: C foot joint, Bb foot joint, G insert, different head joints, etc.
3. Head joints are all different: says to choose
4. Piccolo selection and models
O. Care and Maintenance
1. Proper way to assemble the flute
2. Daily and yearly maintenance suggestions
3. Do's and Don'ts
Q. Reference Material
1. Teacher should be role model to students
2. Books about teaching and practicing
3. Links to fingering charts and resources
Article Title: The Wide World of Flute Pedagogy
Author: None
Instrument: Flute
Magazine or Journal Title: N/A
Summary:
A. Body Awareness, Physiology and Posture: Have students...
1. Good body awareness helps practicing and performance skills
2. Stretching out before playing/ Let go of any excess tension
3. Practice in front of a mirror to be aware of natural positions and angles of the body
B. Patience and Overcoming Frustration: Tell your students...
1. Visualize music before you play it
2. Take a break if getting frustrated
C. Developing A Technical Foundation
1. Scales with a metronome
2. Etude Books
D. How To Practice
1. Keep a notebook: practice sessions, things to remember/work on
2. Work on basics first, then expand
3. Warm up properly- long tones, scales, patterns
a. Use proper techniques every time
4. Tonguing: practice double, triple, flutter
E. Embouchure
1. Specifics to look for in students embouchures
2. Ask specific questions, continually assess
F. Breathing, Vibrato, and Tuning
1. Tips for breath support and proper breathing
2. Vibrato from the diaphragm
3. Proper tuning
4. Keep in mind the angels of the jaw, air flow, and space between teeth
G. Musicality and Phrasing
1. Keep in mind the purpose behind the music
2. Make sure students mark in phrasing, breath points
3. Tone - colors, problems, etc.
J. Repair Techniques
K. Audience/Performance Etiquette
M. The Instruments
1. Different models for beginners, intermediates, professional, and performance flutes
2. Different aspects to look for when upgrading instruments: C foot joint, Bb foot joint, G insert, different head joints, etc.
3. Head joints are all different: says to choose
4. Piccolo selection and models
O. Care and Maintenance
1. Proper way to assemble the flute
2. Daily and yearly maintenance suggestions
3. Do's and Don'ts
Q. Reference Material
1. Teacher should be role model to students
2. Books about teaching and practicing
3. Links to fingering charts and resources