Category Archives: Flute Hire

Flute – Flute/Embouchure and Producing Sound

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Flute – Flute/Embouchure and Producing Sound

Flute – Flute/Embouchure and Producing Sound

 

Flute – The word embouchure is French for mouth. Wind musicians use it to describe the shape of their lips as they play a musical instrument. The embouchure hole refers to the hole in the mouthpiece (or headjoint) of the instrument.

Finding a practicable embouchure on the flute can be extremely difficult at first, but this challenge is easily overcome with perseverance.

Examine the shape of your lips

Look in a mirror at the shape of your lips. Some people have a completely smooth/rounded surface on their inner lip, whilst others may have a ‘teardrop’ shape in the middle. Some people have a wider part on one side of the teardrop, or perhaps the teardrop is not in the centre of the mouth. Other people have the opposite of a teardrop, where the lip actually rises in the middle. Whatever your shape, you will need to take this into account when attempting to get a sound out of the instrument.

What am I trying to DO with the air?

When playing the flute, we do not blow the air directly inside the mouthpiece (as we would do with a recorder or a whistle), but we are instead directing the airstream over the top of the embouchure hole. Perhaps in the past, you have made a sound by blowing over the top of a bottle – it is the same principle as this.

The stream of air used to create a sound on the flute should be produced from an embouchure approximately the size of a drinking straw. Imagine that someone has placed a drinking straw between your lips – this loosely indicates the size of the airstream.

Some suggestions to get you started

Try this with the headjoint only, at first.

1. Press your lips together. Roll the lips inward, so that there is no pink showing. (Imagine a woman who is pressing her lipstick between her lips)

2. “Kiss your flute!” – place the embouchure hole completely against your pressed lips, so that you can feel the full circle around your mouth.

3. Unroll. Roll the flute away from your lips approximately 90 degrees, so that the embouchure hole is now level with the ceiling.

4. “Spit out a watermelon seed!” Imagine you have a small seed to spit out – this may assist you in finding a good embouchure shape. If you achieve a sound using this method, try adding a stream of air after your initial “spit”.

‘What if that didn’t work?’

  • Try it again several times, and try to move the embouchure hole to the left or right, depending on where your strongest stream of air is coming out.
  • Experiment, experiment, experiment! As you are blowing, try moving the embouchure hole to the left, right, roll in/roll out, angle up/angle down, angle forward/angle back, etc… Take deep breaths, so that you have plenty of air to create a strong sound.
  • Have a look in the mirror as you attempt to make a sound. Closely observe the position of the embouchure hole against your lips, and attempt to troubleshoot. You may notice a small pattern of condensation appear on the mouthpiece – if you can create a triangular shape with this, you are almost certainly doing well.

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Flute – Lady Jeanne Galway

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Flute – Lady Jeanne Galway

Flute – Lady Jeanne Galway

Flute – An accomplished flutist, Lady Jeanne Galway continues to grace the international platforms with her virtuosity. One of the leading female flute soloists of the decade, Lady Galway brings to the audience her unique style and elegance.

Her touring schedule regularly takes her to many of the major cities in the U.S. to perform as soloist with orchestras such as Chicago, Philadelphia, Pittsburgh, Seattle, Denver and the National Symphony.  Internationally, she has appeared in the cultural capitals of the world including London, New York, Milan, Rome, Vienna, Salzburg, Zurich, Dublin, Belfast, Tokyo, Beijing and Singapore.

Appearing regularly as the premiere flute duo partner with her husband Sir James Galway, the two delight audiences and bring a rare freshness to the platform, unique in the music world. The 2017/18 season sees Lady Galway with appearances spanning the globe, including tours throughout the USA, Europe and Asia.

Gala events include a special James Galway Tribute Gala at The Waterfront Hall, Belfast, together with the Ulster Orchestra, celebrating their 50th year. A special tribute to Henry Mancini with the Chicago Symphony at The Ravinia Festival and the BBC Proms in the Park at Castle Coole, Northern Ireland.

In addition to her highly successful career as a soloist, Lady Galway is also an accomplished chamber musician, touring regularly with various chamber ensembles. A strong advocate for the importance of music education in the school system, Lady Galway has recently taken to public speaking at various International education conferences.

The Galway Flute Academy is Sir James and Lady Galway’s educational platform, where they share their wisdom and experience with the musical generation of tomorrow. The Academy, which includes daily masterclasses, weekend residencies and ten-day flute festivals, gives them such joy to be able to change and enhance the lives of flutists of all levels. To further connect them with students, educators and flute lovers, the Galway’s created First Flute www.firstflute.com, an online teaching series, which allows the student to learn from Sir James anytime, anywhere and takes them on a visual journey into his world of teaching. The latest addition to the Galway flute Academy is the launch of LiveLearn. This allows everyone to connect with them like never before, through live streaming classes, webinars, private lessons and interactive Q&A sessions. www.galwayfluteacademy.com

Lady Galway’s versatile concert engagements include performances in the presence of The Empress of Japan, HRH The Earl and Countess of Wessex, TRH The Duke and Duchess of Kent, The Queen of Norway, The Queen of Spain, UK Prime Minister David Cameron, President Shimon Peres, President Mary McAleese, President Michael D. Higgins & Irish Prime Minister Enda Kenny.

Lady Galway serves as a patron to the charity Future Talent headed by the Duchess of Kent and Ambassador of The European Brain Council. Her versatile concert engagements are often for fundraising events for UNICEF, SOS, FARA and Marie Curie Cancer Care.

She has recorded to critical acclaim for RCA Victor, Sony BMG Classics and Deutsche Grammophon.  Irish America Magazine awarded Sir James and Lady Jeanne Galway the “2008 Spirit of Ireland” award in recognition for their roles as musical ambassadors.A native of New York and graduate and former member of the Flute Faculty of the New York City’s Mannes College of Music, Lady Galway lives with her husband, Sir James Galway in Switzerland.  She is currently performing on an 18 carat gold Nagahara flute.

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Flute – Sir James Galway

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Flute – Sir James Galway

Flute – Sir James Galway

Flute – The living legend of the flute, Sir James Galway is regarded as both the supreme interpreter of the classical flute repertoire and a consummate entertainer whose appeal crosses all musical boundaries.

Sir James has made himself a modern musical master, whose virtuosity on the flute is equaled only by his limitless ambitions and vision.  Through his extensive touring, over 30 million albums sold and his frequent international television appearances, Sir James has endeared himself to millions worldwide and is a tireless promoter of the arts.

The 2017/18 season sees Galway with appearances spanning the globe, including tours throughout the USA, Europe and Asia.  Gala events include a special James Galway Tribute Gala at The Waterfront Hall, Belfast, together with the Ulster Orchestra, celebrating their 50th year and honoring Sir James, their first Artist Laureate. A special tribute to his friend, Henry Mancini with the Chicago Symphony at The Ravinia Festival and the BBC Proms in the Park at Castle Coole, Northern Ireland.

The BBC commissioned documentary “BEING JAMES GALWAY” commentated by Jeremy Irons, is already in international circulation, highlighting the magnitude this great artist continues to bring to his fans around the world.

Belfast born, Sir James studied in London and Paris before embarking on his orchestral career in such prestigious orchestras such as the Sadlers Wells & Royal Covent Garden Operas, The BBC, Royal Philharmonic and London Symphony Orchestra, before taking up the coveted position of solo flautist with the Berlin Philharmonic under Herbert von Karajan.

Since launching his successful career as a soloist in 1975, his busy touring schedule sees him performing with the world’s leading orchestras and most prestigious conductors.  From Galway’s lips have come definitive treatments of classical repertoire and masterworks by Bach, Vivaldi and Mozart.  He also features contemporary music in his programs, including new flute works commissioned by him and for him by composers such as Adamo, Amram, Bolcom, Corigliano, Heath, Lieberman and Maazel. Recent commissions include a concerto ‘Linen & Lace’ by Bill Whelan (composer of Riverdance); concerto by Elaine Agnew ‘Dark Hedges’ commissioned by BBC Radio 3 for the Royal Albert Hall Proms, and a Double Flute concerto for 2 flutes written especially for Sir James & Lady Galway by the Northern Irish Composer, Philip Hammond.

The Galway Flute Academy is Sir James and Lady Galway’s educational platform, where they share their wisdom and experience with the musical generation of tomorrow. The Academy, which includes daily masterclasses, weekend residencies and ten-day flute festivals, gives them such joy to be able to change and enhance the lives of flutists of all levels. To further connect them with students, educators and flute lovers, the Galway’s created First Flute www.firstflute.com, an online teaching series, which allows the student to learn from Sir James anytime, anywhere and takes them on a visual journey into his world of teaching. The latest addition to the Galway Flute Academy is the launch of LiveLearn. This allows everyone to connect with them like never before, through live streaming classes, webinars, private lessons and interactive Q&A sessions. www.galwayfluteacademy.com

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Flute – James Galway

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Flute – James Galway

Flute – James Galway

By Wikipedia

 

Flute – Sir James Galway, OBE (born 8 December 1939) is an Irish[1][2] virtuoso flute player from Belfast, nicknamed “The Man with the Golden Flute”. Following in the footsteps of Jean-Pierre Rampal, he established an international career as a solo flute player.

Galway was born in East Belfast near the Belfast docks as one of two brothers. His father, who played the flute, was employed at the Harland and Wolff shipyard until the end of World War II and spent night-shifts cleaning buses after the war, while his mother, a pianist, was a winder in a flax-spinning mill. Surrounded by a tradition of flute bands and many friends and family members who played the instrument, he was taught the flute by his uncle at the age of nine and joined his Fife and drum corps; at the age of eleven he won the junior, senior, and open Belfast flute Championships in a single day. His first instrument was a five-key Irish flute, and at the age of twelve or thirteen, he received a Boehm instrument. He left school at the age of fourteen and worked as an apprentice to a piano repairer for two years.[3][4][5]

He subsequently went to London to study the flute at the Royal College of Music under John Francis and then at the Guildhall School of Music under Geoffrey Gilbert. He then studied at the Paris Conservatoire under Gaston Crunelle and Jean-Pierre Rampal and also privately with Marcel Moyse.

After his education he spent fifteen years as an orchestral player.[6]

He has played with Sadler’s Wells Opera, Covent Garden Opera, the London Symphony Orchestra and the Royal Philharmonic Orchestra.[6] He auditioned for the Berlin Philharmonic Orchestra under Herbert von Karajan, and was principal flute of that orchestra from 1969 to 1975. To Karajan’s surprise and dismay, after a period of some disagreement, Galway decided that he would leave to pursue a solo career.[7][page needed]

In addition to his performances of the standard classical repertoire, he features contemporary music in his programmes, including new flute works commissioned by and for him by composers including David Amram, Malcolm Arnold, William Bolcom, John Corigliano, John Wolf Brennan, Dave Heath, Lowell Liebermann and Joaquín Rodrigo. The album James Galway and The Chieftains in Ireland by Galway and The Chieftains reached number 32 in the UK Albums Chart in 1987.[8]

Galway still performs regularly and is one of the world’s most well-known flute players. His recordings have sold over 30 million copies.

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Flute – Ron Korb, a Canadian flutist (flautist)

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Flute – Ron Korb, a Canadian flutist (flautist)

Flute – Ron Korb, a Canadian flutist (flautist)

 

Ron Korb is a Canadian flutist (flautist), composer, recording artist, producer and songwriter from Toronto, Ontario, Canada. He is also known as Dragon Flute (Traditional Chinese: 龍笛; pinyin: Lóng-dí ) in China, Thunder Blessing (Traditional Chinese: 雷恩寇伯 ; pinyin: Léi’ēnkòubó) in Taiwan and Prince of Flutes (Japanese: furūto no kikōshi) in Japan[1]

Ron Korb released Asia Beauty in 2015. The album was nominated for Best New Age Album at the 58th Grammy Awards.[2]

Korb is known for writing culturally diverse music and his mastery of a wide array of world music wind instruments. His work spans a range of genres including Classical, Jazz, Latin, Asian, Celtic music, and Middle Eastern. Many of his songs are program music based on stories themes that form concept albums. The concepts often come from his exploration of his multi-cultural ancestry and extensive travel experience.[3]

Ron Korb started on the recorder in grade school and later joined an Irish fife and drum band in his teens. While attending the Royal Conservatory of Music, he won several local music competitions. He attended York University for a year to broaden his experience of playing jazz but later earned a scholarship to study classical flute at University of Toronto where he graduated with a degree in Music Performance. His primary teacher was Douglas Stewart but he also participated in master classes with Paula Robison, Robert Aitken in Shawnigan, Raymond Guiot in Domaine Forget and Michel Debost in Assisi, Italy. After graduating with honors from University, Korb discovered Chinese flutes (Chinese: 笛子, English:Dizi, [pinyin]: dÍ zÎ). The sound of the Asian bamboo flute intrigued him so much that he moved to Japan in the early ’90s to study Japanese Gagaku court music, the traditional shinobue and ryūteki bamboo flutes with Akao Michiko. Since then he has travelled around the world collecting and studying indigenous flutes. He has a collection of more than 250 flutes.([2])

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Flute – The Six Flute Embouchure Mistakes To Avoid

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Flute – The Six Flute Embouchure Mistakes To Avoid

Flute – The Six Flute Embouchure Mistakes To Avoid

 

Flute – The flute embouchure is one of the most talked about and potentially difficult concepts to master in flute playing. How do we as unique individuals form the embouchure and how does it influence our sound? This article will outline these two important questions, as well as help you avoid six common flute embouchure mistakes that lead to future tone and playing problems. Watch my step-by-step video tutorial below to find your own unique embouchure and start you on the path to terrific flute tone.

What is the flute embouchure?

The word embouchure is rooted in the French for ‘mouth’ and refers to the shape of the facial muscles, tongue and teeth when we blow into a wind instrument. The flute is an interesting member of the woodwind instrument family, having no reed like an oboe or clarinet. When air is blown into a reed, it encounters a resistance from the reed which vibrates and causes a sound to be produced. With the flute our mouth is effectively the reed – the conduit through which the air travels into the instrument. The shape and size of the opening in our lips (called the aperture) helps to channel our breath and regulate its speed and direction. Obviously this makes it one of the vitally important factors in solid sound production (together with the material and cut of the head joint itself).

How does the flute embouchure affect sound quality?

Three major factors – embouchure shape and size, its positioning on the flute’s lip plate as well as breath control all play a part in sound production and its quality. Very simply, to obtain a ‘sound’ on the flute the air needs to travel diagonally down across the hole, focused through the aperture. The length, thickness, angle and speed of this air jet all act to produce the vibrating column of air within the flute that makes sound. Changes in any one of these parameters will produce changes in pitch, volume and flute tone. For example, playing with too little air speed means you’ll play flat (under pitch), softly and with a raspy, weak sound.

What is meant by a flexible flute embouchure?

As we mature in our playing we expand to playing notes at the extremes of registers, playing over a large dynamic range as well as the expectation that we are able to play in tune. In order to do this well, our embouchure needs to remain ‘flexible.’ This means it’s necessary to make subtle modifications as we play. Our face and throat shouldn’t feel tense or be locked into just one position.

For example, to make a leap between octaves we need to increase the air speed and modify the direction of air into the flute. Instead of just ‘blowing harder’ we can modify the aperture size to become smaller, thereby forcing the air through a smaller hole and increasing its speed. We also need to angle the air higher by moving the centre of the lips and jaw ever so slightly forward, covering more of the embouchure hole. In another example, to increase the volume of a note, you need to use more air. But if you simply blow harder and faster you will begin to raise the pitch and eventually overblow into harmonics. Instead you compensate by increasing the size of the aperture.

General guide for embouchure formation

Some people find their playing embouchure easily, allowing them to make a solid sound relatively quickly. Others struggle for longer for any number of reasons (wearing braces, large lips or even a cheap, badly cut head joint).  Because this is one of the very fundamentals of flute playing, there is a real danger that the frustration of the process turns people off flute playing altogether! To prevent this tragedy, here are some general pointers to start with…

  • Work in front of a mirror so you can recognise the subtle changes in embouchure shapes as you adjust
  • Use only the head joint to begin sound creation initially
  • Generally about one quarter to one third of the hole should be covered with the bottom lip
  • The lower lip should be slightly flattened and the upper lip sit jut slightly over your bottom lip
  • The corners of the mouth should be slightly turned down and relaxed, rather than pulled back and up as if smiling.
  • The hole in your lips should be a squashed oval and should not be longer than the embouchure hole on the flute
  • The inner wet part of your lips should be touching
  • The aperture should be aligned approximately in the middle of the embouchure hole of the flute
  • Sound the syllable ‘mmmm’ and then release a ‘p’ sound to create the correct mouth shape. Once you have found this shape, use the ‘t’ sound while breathing out to mimic tonguing notes
  • Use a steady stream of air (equivalent to playing moderately loudly)

Six Flute Embouchure Mistakes to Avoid

But of course, we are all unique! Our lip thickness, the straightness of our teeth, wearing braces, the shape of our chins and jaw bite will mean each embouchure shape will be a little different to the next. So it’s often a case of trial and error to find it. In this search for sound, there are some common embouchure mistakes many beginners make. Here are six of the most common mistakes to avoid…

  • Covering too much of the hole with your lips by either rolling the instrument inward or pressing the flute into your chin too hard.
  • The smiling embouchure. This pulls the lips away from the flute’s lip plate, increasing the length and angle of the air stream, causing pitch and tone problems. It also tends to lock the lips and cheeks in place, and also makes it more difficult to anchor the instrument under the bottom lip and against the chin.
  • Not supporting the breath enough (air speed too slow). This makes you overcompensate by squeezing the aperture smaller, tensing the facial muscles
  • Placing the flute too high on the lip or too low on the chin means that not enough of the air jet is directed into the instrument
  • Blowing directly across the hole (as if blowing across a bottle neck)
  • Holding the flute at angles (too far forward, backward or downward) will disperse too much air and result in an airy tone

Watch my quick video tutorial as I demonstrate some strategies to finding your correct flute embouchure. But most importantly – how subtle changes in your embouchure can make a big difference to your tone!

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Flute – HAVE YOU SPENT YEARS WISHING YOU’D TAKEN THE CHANCE TO PLAY FLUTE EARLIER IN LIFE?

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Flute – HAVE YOU SPENT YEARS WISHING YOU’D TAKEN THE CHANCE TO PLAY FLUTE EARLIER IN LIFE?

Flute – HAVE YOU SPENT YEARS WISHING YOU’D TAKEN THE CHANCE TO PLAY FLUTE EARLIER IN LIFE?

 

Flute – If you’ve been looking for a way to begin learning to play flute, read and understand music and just un-wind by pursuing a new hobby, then this could be what you’ve been looking for!

As adult beginners, the competing demands of work, kids and just ‘life’ in general mean that you often find you have no time left to pursue your own passions or hobbies. Every last minute is squeezed out of every day! But I’ve found the easiest way that can allow you the time to begin learning to play like you’ve always wanted to.

Yep, that’s right – to suit your own unique schedule, on your own terms, no matter where you live. WHENEVER,WHEREVER.

Being ‘too busy’ is no longer an excuse…

Hi I’m Christie, founder of The Flute Coach, and as a parent of a little one, a part time PhD student and a flute player who always wants to learn more, I can absolutely relate to your struggles about finding the best way to balance learning flute with your life.

In my own life, despite the momentum in my private lessons and my enjoyment of playing, I found that when I first began University I could no longer spare the time to attend private lessons. When I undertook my further studies, I moved away from my home town, my teacher and had to financially support myself.

Unfortunately this meant that I took a break from flute playing as ‘life took over’…

It was such a shame! All of those years of practising and performing, all put on hold. I’d excelled in my music examinations up to an advanced level and so I thought I could carry on ‘teaching myself’. But when I pulled out the flute I became frustrated as my technique and playing ability suffered from the lack of consistent practise and without the continued guidance of a teacher. After I had my first child I was even more limited with my free time. Being unable to just leave the house easily made lessons seem even more out of reach.

How could I continue to play (and not only that, improve!) when I just simply did not have the means to attend flute lessons?

With the rise and rise of the internet over the next 15 years, I found that traditional face-to-face lessons could be supplemented with new online learning platforms. So I did an internet search on ‘flute playing’ and found a lot of free videos on Youtube. Whilst most of the videos I found were helpful, the problem was that there was no structure to the videos I was finding. They were fragmented and random, without a logical progression to learning. I wasted so much time trying to find the first video of a series or more detailed videos on a specific concept!

That’s when I stumbled upon Udemy – an online learning hub that offers 1000’s of courses –including learning to play flute.

Finally, I had found the solution to the busy adult learner’s problem…

These quality step-by-step lessons, were offered in a totally flexible and convenient format – all in the one online learning resource. This means…

  •  No more time-consuming googling for videos!
  •  No more traveling to and from lessons.
  •  No more embarrassment or shyness in your initial stages of learning

I knew that I was not the only person who could benefit from courses like this and so I had to share it with players like you.

The Music Professor’s Online Flute Courses

There’s really no wonder that the MusicProfessor’s  “Learn to Play the Flute: Beginner Basics to Intermediate” Course is Udemy’s most popular and best-selling course. It’s filled with over 100 lesson videos with detailed demonstrations of relevant beginner concepts that lay the foundations for successful playing.

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Flute – Interview with Janet Webb

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Flute – Interview with Janet Webb

Flute – Interview with Janet Webb

 

Flute – We asked Janet Webb, recently retired Principal Flute of the Sydney Symphony Orchestra, some questions about her life with the flute. I’m sure you will enjoy hearing from Janet drawing on her 37 distinguished years with the orchestra.

David Leviston: When did you start playing the flute?

Janet Webb: I started at age 10

DL: What do you love about the flute?

JW: I love the sound. I also love the beautiful parts the flute plays in the orchestra.

DL: Is there anything you dislike about the flute?

JW: Can’t think of a thing! Except maybe that there are only 4 in an orchestra.

DL: Did you choose the flute or did the flute choose you?

JW: When we were told to pick an instrument at school, I chose the double bass. However my parents didn’t want to buy a bigger car so they told me to choose something else.  I picked the flute not really knowing what it looked like, opened the case and thought, “so that’s what it is.”

DL: Do you feel that different instruments match different personality types?

JW: It does seem to go that certain instruments seem to attract certain personalities. I have a feeling that flautists tend to be a bit extroverted!

DL: Do you play any other instruments?

JW: Of course in an orchestra you also play piccolo, alto and even bass flute. For my second major at university, I studied recorder – sopranino, descant and treble.  I also play the piano.

DL: Have you had formal training on the flute ie. Conservatorium or University?

JW: I studied flute in high school at the Canberra School of Music. I also obtained my Bachelor of Arts/Music there.

DL: How important do you think that is for a career in performance?

JW: Attaining a degree has its place in training you for a job. Apart from learning the craft of your instrument, there are other facets of music that you need to know about in order to get a job. I am sure many of you wonder why you have to learn the history of music. It is essential to know HOW to play music of different ages and composers. Hearing other good players of other instruments is of benefit. Have you ever wanted to sound like a beautiful cello? Harmony helps you to know what chords you are playing, how it relates to the music and how to tune them when playing with others.

DL: Do you think music as a career can be potentially all consuming?

JW: A career in music does demand a very big commitment. It is our love, our hobby and our livelihood. We tend to spend a lot of time with fellow musicians because of the hours that you work.  Living with absolutely no routine means it is hard to commit to other regular activities such as exercise classes! But as long as you love it, it’s ok.

DL: How do you maintain a work vs practice balance?

JW: As with everything – we do what we can. As the SSO programs change every week – and sometimes 2 different programs in a week, it was all I could do to learn and practice the current program. Often after a 5 hour rehearsal day, I would have to practise after dinner until late. Any other concerts (chamber, recital) you are preparing for have to be fitted around that.

DL: How do you maintain a work life balance?

JW: Having a family (I have 3 children) ensures that you don’t let music totally run your life. It helps to maintain a balance – music is not life and death!

DL: How important is the type of flute you play on? Silver, gold, wood, system?

JW: We choose the type of flute according to what suits us, and the type of tone you want to produce.  I have played on silver, gold and wood during my time in the SSO. Each time I changed, it was because I was looking for another sound or possibility. Personally, I find that gold suits me at the moment. I like its large, rich and smooth sound (rather like the colour).

DL: How well do you know the details of the flute you play on?

JW: I’m afraid I don’t know much – I only know that I love it.

DL: How important have teachers been for you in your own learning?

JW: I was incredibly lucky to have learnt from Margaret Crawford and David Cubbin. They were so inspirational! Margaret gave me an amazing love of flute and music. It was so much fun!!!  David Cubbin gave me a fantastic knowledge of technique – he could tell you precisely how to do something in words.

DL: How important is teaching of others for you as a process?

JW: Teaching is good for all of us. I find I learn so much from my students. Often, when I put a solution into words it makes things clear to me!

DL: What is your favourite piece of music?

JW: It’s very hard to say – I love it all, but probably Daphnis and Chloe by Ravel.

DL: What is it about this music that you like?

JW: I love the impressionist sounds of the orchestra, and sweeping melodies. Of course, the flute solo is a favourite – to listen to and play!

DL: What’s it like playing Principal Flute in a big symphony orchestra?

JW: It’s the best job in the world! It’s exciting, scary, challenging and moving all at the same time. Being in an orchestra allows you to play the best music ever written. Our flute repertoire is limited – this way you get to play Ravel, Mahler, Brahms, Beethoven, R. Strauss etc.

DL: How important are people skills when playing music in groups?

JW: Very important. Being respectful and amicable are traits that are taken into account when appointing a player to an orchestra. We also work very closely with each other.

DL: What has been the highest point of your career?

JW: Being appointed Principal Flute in the SSO! What an honour and a privilege.

DL: What has been the lowest point of your career?

JW: When our chief conductor Stuart Challender died. We were both young and appointed to the orchestra around the same time. The orchestra loved him.

DL: What advice do you have for someone wanting to pursue a career in music performance?

JW: If you love the flute and music – go for it. Be prepared to work hard – but you will reap the rewards. Don’t sit around and wait for someone to ask you to play – make your own opportunities – and have fun!

DL: You have had a number of different instruments. Did you change because you wanted something different or better?

JW: I changed mostly because I was looking for something different. We are always evolving as a player, trying to improve and looking for new sounds.

DL: How much do you think the player impacts the result and how much difference does the instrument make?

JW: No matter what instrument you are on, you will still sound like you. Different instruments and materials suit different ways of playing and personal taste.

DL: Has the flute been good to you?

JW: I love my flute!! I am still working on getting the most out of it that I can. But if you mean to my life? I have had the most wonderful life playing the flute. It has been full of fabulous music making, excitement, friendship, inspiration and travel. I have been very fortunate.

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Flute – Cleaning and Polishing Flutes

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Flute – Cleaning and Polishing Flutes

Flute – Cleaning and Polishing Flutes

 

Flute – At Flutes & Flutists, we draw a difference between cleaning and polishing. To service or overhaul a flute, all the surfaces need to be clean, free of dust, oil, acid and fat from perspiration. A service does not necessarily mean the removal of tarnish. Unless tarnish is severe, it does not affect the performance of the flute and the only reason to remove it, is to restore it’s shiny original appearance.

Perspiration is made of mostly water and a small percentage of fat and acid. The fat and acid, combined with the oxidation of the silver, creates the tarnish, giving the flute what many people feel is an unattractive dark appearance.

There are some very fine and well-known players who think that the tarnish enhances the appearance and sound of their instrument. They certainly don’t think it detracts from it and judging by the results of their playing, it is hard to argue against them!

To remove tarnish it is necessary to do more than wipe the surfaces. It can be done by using a buffing machine which usually involves a lathe with a fast spinning cloth that rips into the tarnish, removing it. The problem with this approach is that no matter how skilled the operator, it takes some of the silver or silver plating off, which means the flute does not potentially last as long. The best way is to do it by hand, which is the way we do it at Flutes & Flutists. The downside with this process is that it is very time consuming.

Keeping your flute clean and looking like new is possible, but requires assiduous attention to wiping it every time you use it and putting it away after use. If you are doing a long playing session, it is necessary to wipe it every half an hour or so. This way the tarnish is kept to a minimum. We know this because when displaying flutes at an event, people will be trying the flutes all day and we are wiping them down soon after they have been play-tested. At the end of the day, we put them back into their cases and as long as we have kept wiping, they will stay clean and shiny. If we miss any areas, by the time we get back to the shop and put them away, it can be too late for further cleaning with a non treated cloth and will need more aggressive cleaning involving some silver cleaning product.

We don’t recommend you do this yourself as the silver cleaning product needs to be applied very carefully and should not be allowed to get into the mechanism or on the pads. If this happens, the mechanism will need to be cleaned out or the pads may need to be replaced, which adds more time and expense.

Keeping your flute clean and minimising the development of tarnish is a constant process and players vary enormously in their dedication to doing this. Some people never clean their flute and at the other end of the spectrum, some people clean it all the time. It is because of this that we make an optional quoted charge for removing tarnish. If you manage to keep your flute really clean, then you will keep the cost down to just the time of the service. If your flute is tarnished, you will have the option of paying for the extra time to have the tarnish removed by hand or you could leave it tarnished and look well used.

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Like any mechanical object, your flute requires a regular service if it is to perform at its very best. There are many moving parts which depend upon fine adjustments, and pads, corks and springs which deteriorate with time and use. Only a flute which is performing to the best of its potential, can assist a student or musician to perform to the best of theirs.

We recommend regular Flute Servicing and Repairs, on a yearly basis, dependent upon use. Our Flute Servicing and Repairs costs are the lowest you will find in Adelaide and beyond, but that doesn’t mean you will be substituting quality. All flutes are subject to strict quality control, and are test played with the lightest touch before leaving us. We adjust every instrument as if it were to be played by the youngest student, and also guarantee any work we carry out for a period of six months after. We take great pride in all our Flute Servicing and Repairs.

“Thanks for servicing my flute!! It sounds wonderful and lovely and it’s just splendid! I can’t remember my flute being this shiny since the day I got it, it pretty much looks brand new, so thank you very much indeed!” – Clarence Chuah

Flute – The Art of Composing Music with local flute player Jenni Bell

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Flute – The Art of Composing Music with local flute player Jenni Bell

Flute – The Art of Composing Music with local flute player Jenni Bell

 

Flute – Talented Brisbane multi-instrumentalist Jenni Bell has been a good friend of mine for the best part of a decade. I met her and her artist husband John through a church we both attended. Such a warm and instantly likeable couple, they both have a deep passion for the arts and for people. You can catch them regularly hitting the live music scene around Brisbane. In September 2016, out of the blue Jenni wandered up to me, shyly clutching a bag. ‘Look at this. It’s finally finished!’ she said, and opened the bag for me to see inside. To my surprise inside were a few dozen CDs, looking sleek and fresh off the production line.

For more than two years, Jenni had been labouring away at a special project – composing music and recording an album. Called ‘Around the Town’, the album is in the Choro style of music, considered the first Brazilian urban music that began in Rio de Janeiro. Jenni features on the album playing flute, piccolo and violin, together with the other members of the Café Do Choro group she is part of. I snapped one up right on the spot, keen to be one of the first to listen to her creation. I was also curious about how the flute features in Choro (a style of music I admit was unfamiliar to me then).

As soon as I got into the car I popped it into the player and listened to it the whole way through on my way home. I loved it! The next Sunday I pounced on Jenni and asked her if she would mind if I featured her album in my blog. I’ve always been curious about the process of composing music. So I sat down with Jenni to gain some insight into how she makes her magic composing music…

Jenni, how long have you been playing musical instruments, and particularly the flute?

I was trained in classical violin at the Victorian College of the Arts, but I also play piano, recorders, viola, plus a little guitar. Occasionally I get to play a 3 string Brazilian violin called a Rabeca, and I’m also giving the mandolin a go! I took up the flute as an extra tertiary study, over 30 years ago now! But I haven’t always played it regularly. I started coming along to Choro jam sessions about four years ago, and have had to put in plenty of practice to play this stuff! I only had a limited amount of formal lessons as the violin was my primary instrument, so I don’t really consider myself a high level flute player! I’m always interested in more flute though, so if anyone has an unwanted alto or bass flute lying around they might want to donate…

Do you have a favourite style of music you like to play or listen to?

Whilst I’m classically trained I’ve also played various other styles including Irish, folk and a bit of bluegrass. Involvement with Brazilian music has only been fairly recent via invitation by my son Jason who plays drums/percussion in various bands. I’m very eclectic in my musical tastes. I love listening to so many different styles of music including rock, jazz, indie, all kinds of ethnic music and occasionally some pop excites me. But J. S. Bach has always been ‘the other man in my life’. My husband John knows he has to live with this…

What is your fascination with the Choro style of music?

cafedochoro2Choro is a cocktail of diverse genres – primarily jazz and classical. I think it’s the rich, evocative harmonic to-ing and fro-ing that I first hooked into. It’s clever and sophisticated, fun and free. The melodies are intricate but full of light-hearted humour. It features little unexpected tricks and musical ‘sleight of hand’, sort of musical ‘in jokes’. The chord changes are usually standard diatonic progressions but they have a loveliness that somehow gets to my heart. Like jazz, there’s freedom in how each player can handle the melody. Improvised solos are a feature. I find the actual sonority of the instruments, especially the acoustic guitar and in particular that wonderful deep ring of the Brazilian seven string guitar, very appealing. The other aspect is the social one. A Roda de Choro (Circle of Choro) or “Chorinho’ (little Choro gathering) is primarily about the sheer joy of playing music together!

What are your inspirations for composing music? Can you give an example for one of your tracks?

I’ll often get a bit of a melody or a few chord changes running around in my head. If the idea seems worth pursuing I’ll see where it takes me. The melody of ‘If Only’ came drifting through my mind after one of the most memorable days of my life. On the boat trip home after an incredible day snorkeling at the Great Barrier Reef. I madly scribbled ideas on a scrap of John’s drawing pad. My own musical shorthand that I use to jot down my ideas can be handy in an emergency like this one! I had a similar experience in a deep, beautiful, deserted forest in Tasmania. Mostly I get ideas at some absurd hour of the night… sometimes I’ll wake up in the morning with a tune drifting around in my head. Playing Choros with other musicians seems to ‘prime the pump’ for ideas to flow.

Where do you begin when composing music?

Many people just start with a snatch of a melody or a hint of a chord progression. I used to notate ideas on manuscript by hand; now I sing them into my phone. I compose at the computer, not at my instrument; I find that keeps me more open. Later I’ll check progressions on the piano or melodies on the flute. Some just flow in one hit, others need to be wrestled into shape.

The title usually comes after writing the piece, not before. Sometimes the hardest part is assigning a title to best capture its essence! Most of these pieces weren’t written with a particular story, picture or theme in mind; the titles are just what the music seemed to suggest to me. So the music leans towards the abstract rather than being literally descriptive.

How long did it take to produce the album?

cafedochoroLonger than expected! It took 2½ years, just from when I started recording! It was originally going to be a short demo EP and I thought it would take about five or six sessions. As we progressed I started to think “Why not make this a proper album?”

What did you find were the most challenging aspects of composing and recording your own album?

For the composing, notating the tunes clearly takes lots of time. Especially getting them to sit right on the page and adding all the additional markings. For the recording, playing my parts in the tunes to my satisfaction! Knowing when to stop making adjustments and call it ‘done’ – even though I’d play them better now.

How do you prepare for a live performance?

Over-prepare, ignore all housework, and don’t stress about the floordrobe on the day.

Where can people purchase the album or see you perform live?

cafedochoro3We play with Brisbane Roda De Choro on the last Thursday of every month at ‘Can You Keep A Secret’ – a great little Lounge Bar and community hub in Woolloongabba, Brisbane. http://www.canyoukeepasecret.net.au/ “Around The Town’ can be purchased via Bandcamp as a digital download or CD www.cafedochoro.bandcamp.com. Get in touch on Facebook and Instagram using facebook.com/cafedochoro and instagram.com/cafedochoro/

And finally, are there any more flute projects in the pipeline?

This album is the first of three – I already have enough tunes written for two more with similar material. We’re already working on the next one now that this one is done. And of course I hope to keep writing more. I’m also keen for other musicians to play my compositions. I’m working on arranging some of them for flute & piano accompaniment.

Thanks Jenni!

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