Because there are so many variables involved in flute embouchure, there are an infinite number of problems that students can manifest in their tone quality and intonation. And as instructors it might seem we have to virtually be psychic to deduce the problem and offer solutions to our students. This is because so much is affected by things going on in the body that aren’t obvious from looking at a kid. Over the years I’ve been collecting a laundry list, so to speak, of tone/intonation problems and their solutions. Here are some common ones for beginner to intermediate students.
Problem: Windy, airy tone that is sharp
Solution: The aperture is too large and the blowing angle is too shallow. Blow through a smaller aperture and angle the air down more. You can achieve a steeper blowing angle by putting the flute lower on the bottom lip and reaching over with the top lip more, while maintaining the smaller aperture. The Legend of Kiss and Roll, Independence for Lips!
Problem: Dull tone quality, flat pitch
Solution: There is too much bottom lip covering the blow hole, and the flute is probably too high on the bottom lip. Move the flute lower on the bottom lip and roll out. There shouldn’t be more than 1/3 of the blow hole covered by the bottom lip. Also check alignment of the headjoint and balance of the flute. That alone can cause a student roll in and cover too much of the blow hole. It’s All About Balance
Problem: Strangled or pinched tone, can be flat or sharp depending how high or low the flute is on the bottom lip
Solution: This requires some sleuthing on your part because you have to identify the source of the constriction. There are at least four places I can think of that cause a pinched sound: 1) The lips themselves with a flattened and pinched aperture, 2) clenching the jaw with teeth too close together (common with kids who have braces, especially with rubber bands), 3) the back of the tongue is too high, constricting the airway, and finally, 4) the kid can actually be closing off the throat itself, as in activating the gag reflex. It takes some practice and discernment on your part to tell the difference which of these four constriction points are causing the problem. I can tell you that each one has a distinct quality that identifies it from the others, but it does take carefully listening and practice to recognize each one. Getting the Cart Before the Horse
Problem: Trouble producing third octave notes even with the correct fingerings
Solution: Third octave notes seem scary to kids. To them it seems like the natural thing that in order to control the third octave, they should roll in and pinch. After all, who wants to hear screeching high notes? This is precisely why they are having trouble. The solution, paradoxically, is to open up the blow hole a bit, support the air column more from the body core, and relax the grip of the aperture slightly. The speed of the air column itself will ensure the high note speak with ease. Warm Air, Cold Air
As always, if you find these entries useful, please subscribe, share with your colleagues and come back regularly. Feel free to comment. If you have a topic you would like to see explored more fully, you can contact me via IM/Messenger on Facebook or email me at dr_cate@sbcglobal.net. For information about clinics, workshops and performances, click here.
Katie said:
Thank you so much! I have a good understanding of music, rhythm, and fingerings, but my tone sucked. You helped a lot. I never thought about some of these!
LikeLike
Pingback: All about the Headjoint Cork | Dr. Cate's Flute Tips
Fernanda Hernández Sánchez said:
Hi! If my flute is tuned at 442 can it be tuned to 440 which is my orchestra’s tuning standard?
LikeLike
Dr. Cate Hummel said:
A=442 is merely the pitch to which the flute is tuned when the headjoint is pushed all the way in. You can easily play at A=440 if you pull the headjoint out several millimeters. Experiment using a tuner and you will soon find the pitch center for A=440. With virtually every flute or piccolo I have ever owned, it took a few times out playing in an ensemble to find where to set my headjoint exactly to play in tune with the ensemble. You may even find the correct place changes from day to day, depending on temperature and humidity, not to mention, the rest of the ensemble.
LikeLike
ffeerr98 said:
hi! If my flute is tuned at 442 how can I play at my orchestras standard tuning which is 440?
LikeLike
Dr. Cate Hummel said:
A=442 is merely the pitch to which the flute is tuned when the headjoint is pushed all the way in. You can easily play at A=440 if you pull the headjoint out several millimeters. Experiment using a tuner and you will soon find the pitch center for A=440. With virtually every flute or piccolo I have ever owned, it took a few times out playing in an ensemble to find where to set my headjoint exactly to play in tune with the ensemble. You may even find the correct place changes from day to day, depending on temperature and humidity, not to mention, the rest of the ensemble.
LikeLike