About the Third Octave

Tags

flute fingering, flute technique

The nice thing about the first two octaves of the flute is that the fingerings are sequential and orderly for the most part. And then there is the third octave and it is suddenly a mass of awkward cross fingerings. Why is that? We touched on the reason back when we looked at common fingering mistakes. It is mainly because the fingerings are actually combinations of the overtones for two separate notes. The overtones reinforce each other, making the note more stable and give the note a fuller sound. The open keys provide venting which makes the tone more clear. Here are a few examples: D above the staff is combining overtones for G and D, Eb is combining Ab and Eb, E is combining A and E, F is Bb and F, etc. I am in awe of the ingenuity of Theobald Boehm, who decided to just chuck the whole flute mechanism of his time and create a whole new, sensible mechanism that has stood the test of time. The only other innovations that have stuck as standard on the flute are the Briccialdi Bb we have today (with the Bb to the left, above the B natural), the split-E and the C# trill key that is available on step-up flutes and above.

When do you start teaching third octave fingerings? What do the students need to know how to do to play in the third octave successfully? You can start teaching third octave notes as soon as the kids can play the two different octaves on the fundamental fingerings (D, Eb, E, F, F#, G, Ab, A, Bb, B, C, Db). If they can do that, they will have sufficient control of their air speed to play in the third octave. I use my perennial favorite, the octave exercise, to introduce these notes one or two at a time. It helps the students understand how the third octave fingerings differ from the lower two octaves. Encourage them to use a fingering chart like the one at The Woodwind Fingering Guide

In my experience, most kids can easily learn up to at least high Eb (and maybe even G) within their first year of playing. By second year, they can handle up to at least high G and possibly as far as high Bb. They should know the full range no later than 9th grade. By 9th grade, they should also know alternate fingerings for correcting pitch and controlling dynamics (a topic for a future post).

Be aware that there are several third octave notes that are particularly sensitive to a lack of air speed (or support, if you will). These are the high E, F#-Gb and G#-Ab. They will crack down to the supplemental fundamental (so E drops to A, F# drops to B, G# drops to C#) if there isn’t sufficient air speed. My understanding is these notes are so tricky due to having one hole too much venting. A common add-on for flutes at all levels is the split-E mechanism. This corrects the high E by closing the redundant G# hole (lower G key). You have to weigh the acoustic benefits against the added mechanical complication to decide whether you think it is necessary for your students. As for F# and G#, there have been attempts at mechanical fixes (for example the Brossa F#, which works but is extremely rare, even on handmade flutes). Another important word on the high F#. You must use the B natural thumb key for proper response. If you have the thumb Bb on, it closes the Bb key on the upper right hand causing not enough venting and really poor tone quality.

If you find these entries helpful, please subscribe, share with your colleagues and come back next week for another flute tip. Please comment and ask me questions. Maybe the answer to your question will be the next flute tip. Find me on Facebook or email me at dr_cate@sbcglobal.net. For information about clinics and workshops click here.

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Solutions for Common Third Octave Problems

Tags

embouchure, flute balance, flute embouchure, flute fingering, flute intonation, flute pedagogy, flute students, flute technique

The third octave on the flute is an interesting phenomenon because of the embouchure issues it presents and because of the technical and acoustic properties of the instrument. It is definitely not as straight forward as the lower two octaves in terms of the mechanics of the flute. The reason for all the cross fingerings and venting in the third octave is because each note is combining the harmonics of two lower pitches to reinforce the sound of each note. One of the easiest to conceptualize is the fingering for high E: T12|12(Eb) It is combining the overtone series of both E and A. In fact, if the air speed is insufficient, an out of tune A will sound below the intended pitch with this fingering. You can get to the high E by playing harmonics on either E or A. For E it will be the 4th partial and for A it will be the 3rd partial. The two combined make the standard fingering for third octave E (among flutists it is generally agreed that the E is better in tune without the Eb key).

Be sure your flute students know the third octave fingerings. It isn’t enough for them to just overblow a 1st/2nd octave fingering. They will be playing harmonics rather than the correct third octave fingering. The real fingerings will always sound more solid and will be easier to play in tune. Give them a way to practice these fingerings and test them on the practicing you assign. The kids need concrete ways to build their facility in the third octave.  Here is one way to practice third octave technique.

Then there are the common embouchure issues you see with kids. It is common for students to struggle with buzzing rather than playing the desired pitch in the third octave. What causes the buzzing? Their lips are stretched laterally, from corner to corner. If your kids are pulling their corners, there is a really high probability that they will buzz in the third octave. Have them pay more attention to how they are shaping the aperture in the middle of their lips (like how your lips are shaped to blow a kiss or to drink through a straw), and forget about the corners. Remember to blow!

Another common problem is trying to control the third octave by flattening the aperture, rolling the flute in and pinching. Usually what goes with this is insufficient blowing. Oh no! High notes! Cue the Psycho shower scene music! The results are going to be really sharp and likely unsuccessful beyond high E or F. They will be lucky to get to a G. You have to help unwind them. Flute lower on the chin, roll the flute out a bit, relax the corners, shape the aperture (think of saying “W”) and blow more. Make sure the flute is aligned properly, check hand positions and balance. It seems paradoxical that rolling the flute away from you a little bit would improve the response and intonation of the high notes, but it works like magic. Check out this device (Flute Tutor) that can help enforce this positioning with your students.

If you find these entries useful, please subscribe, share with your colleagues and come back regularly for more flute tips. 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.

Why do my Flutes Sound Thin and Squeaky in the Third Octave?

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flute embouchure, flute intonation, flute pedagogy, flute tone

It is no secret that band flute players struggle with sounding thin, shrill, sharp and squeaky in the third octave. Knowing alternate fingerings to correct pitch can help, but won’t entirely solve the problem. What do you need to know to help them overcome these tendencies? The answers lie in what you can show your students regarding embouchure, air speed and a supported air column.

• “Looser lower, tighter higher” is a myth with regard to flute embouchure. A close corollary is “warm air low, cold air high”. Neither is correct or even accurate. How it really works is that basically the size of the aperture is pretty consistent from octave to octave. What is changing is how the air is being directed, higher or lower, with the lips moving independently of each other. Reach with your top lip to blow down more in lower octave or playing forte, push the bottom lip more forward to raise air stream to go up the octave and correct flatness when playing softly.
• Place the flute lower on the chin and open the blow hole slightly. No more than a third of the blow hole should be covered by the bottom lip. This increases the transit time (the time from which the air exits the lips to when the air strikes the blowing edge), which increases resonance and depth of tone.
• To create an open resonant tone in all octaves is the most compelling reason why you want to teach students to bring the flute up into place on their chin rather than the old “kiss and roll” method.  The “kiss and roll” places the flute too high on the lip, with a small, thin, shrill sound being the result.
• Teach your students to open their teeth and relax their throat behind their embouchure. The flute needs to rest against your chin and consequently, your bottom teeth, but the jaw and throat need to be relaxed and open as possible. (Shhhh….Don’t tell the orthodontists, but I frequently tell students wearing rubber bands on braces to take them off when playing so they can relax their jaw, provided they put them back in as soon as they are done playing.)
• BLOW, doggone it! Let me qualify this….there is a big difference between the quantity of air and the speed of the air. The quantity of air has to do with dynamics. On the other hand, the speed of the air is pretty consistent in all registers and at any dynamic level. The speed of the air is controlled by our supporting muscles (abdominals and muscles of the pelvic floor). Providing the supporting muscles are driving the air column, one can maintain an open, clear sound in any octave or at any dynamic.
• Students often think they can “support” their sound with their lips. They pinch or bite down on the aperture, clench their teeth or close their throat rather than use their supporting muscles. Think of how a garden hose works. The actual water pressure come from pumps that are far removed from the nozzle of the hose. The nozzle is responsible for directing the water wherever it is needed. If you close down the nozzle most of the way, the water sprays out in a wide pattern. If you open the nozzle most of the way, you get a strong directed stream of water because of the force of the water pressure.

Bottom line? The basis of good tone in the third octave is based on developing a good tone in the other two octaves. You can’t really separate the third octave out as a separate entity. If you have a strong, supported tone in the lower octaves, you will have an open, clear and supported sound in the third octave as well.

If you find these entries helpful, subscribe, share with your colleagues and come back next week for another flute tip. Please comment and feel free to ask questions. Maybe the answer to your question will be the next flute tip. Find me on Facebook or email me at dr_cate@sbcglobal.net. For information about clinics and workshops click here.

The Top 10 Blog Posts of 2017

It’s been a banner year at Dr. Cate’s Flute Tips, nearly doubling the number of views of the previous three years just this year alone. There are now 100 different articles on all aspects of embouchure, tone production, hand and body position and teaching beginners. There are more new posts coming up in the new year. Your suggestions and comments are always welcome. With no further ado, the top ten posts for 2017 are:

1. Flute Embouchure and a Teardrop Top Lip – It’s great that this is the number one post. My hope is that it means more kids will have the opportunity to play the flute rather than being talked out of it because they have a prominent teardrop and need to shape the aperture off-center.
2. Teaching Your Students to Play with Vibrato – I believe in waiting a year or two before introducing vibrato to young students. The most important thing is the kids are blowing strongly and have a well shaped embouchure before attempting to learn vibrato
3. Helping Your Students Adjust to Playing with Braces – Always a big issue for junior high and high school kids. Not as big a deal as if they play a brass instrument. It’s just a matter of reevaluating the blowing angle to re-establish their characteristic tone
4. The Legend of “Kiss and Roll” – This teaching “method” needs to disappear. If there is any one thing that is an obstacle to developing a rich, characteristic sound, it is learning to blow on the flute by rolling it down into place rather than bringing it up from below. Ask your resident flute teacher/player
5. About the Third Octave – If you teach your students to maintain the size of the aperture and keep the blow hole sufficiently open, 60-75%, and blow fast enough air (different than quantity of air) at every dynamic, the third octave will be easy
6. To Roll or Not to Roll: That is the Question – If students learn to change the blowing angle rather than rolling the flute, flute players around the country and the world will play more easily in tune. Rolling has such a negative impact on tone quality, as well as pitch
7. The Very First Notes – The truth for flute players is that if you develop a strong, focused low register first, the second and third octaves will be a breeze to learn and playing in tune will happen more naturally. I’m well aware that the major band methods start in the middle and work outwards, but the flute is a different beast than the other winds and brass
8. Finding the Sweet Spot – There isn’t a one size fits all solution for embouchure and tone production with the flute. Teach your students how to experiment with the parameters of blowing angle and placement on their lip and they will develop a characteristic sound more quickly
9. Everything You Ever Wanted to Know About Trills – When I do sectional rehearsals and clinics, it makes me nuts that kids will just wiggle whatever rather than go through the process of understanding what note is being trilled to which note, either a whole or half step, depending on the key. Teach them to use a trill chart
10. Warm Air, Cold Air: Sense or Nonsense – Along with rolling to correct intonation and the “Kiss and Roll”, the warm air/cold air explanation for low and high notes is one of the silliest and least true thing we tell kids about how blowing on the flute works. It’s simple. If the aperture is open enough for the air to be warm, the air is moving too slowly to make a good sound. It will be fuzzy and unfocused.

Thank you for reading Dr. Cate’s Flute Tips. It is so gratifying to hear from all of you that you find the blog useful to you. New things in development include some more posts on pedagogy, products I endorse and use in my teaching and playing, a book of tone and technique exercises just for band flute players that can be used in sectionals and individual home practice, and industry sponsorship. Dr. Cate’s Flute Tips would not be possible without the support of KHS America and their flute brands: Altus, Azumi and Jupiter flutes.

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.

Top 10 Posts of 2016 on Dr. Cate’s Flute Tips

Tags

embouchure, flute pedagogy

Thank you for reading this blog! There has been a 44% increase in readership over that of 2015 thanks to you. Most of the articles in the top 10 for 2016 are, not surprisingly about different facets of flute embouchure. If you are used to relating to a mouthpiece of some kind, it is no wonder the range of variables that make up a good flute embouchure can be baffling. Perhaps the closest equivalent in instrumental music is with all the variables involved in playing string instruments, with the bow and with the left hand.

Without further ado, here are the top 10 posts of 2016 on Dr. Cate’s Flute Tips:

1. Teaching your Students to Play with Vibrato
2. Flute Embouchure and a Teardrop Top Lip
3. To Roll or Not to Roll: That is the Question
4. Intonation and Dynamic Control
5. Helping Your Students Adjust to Playing With Braces
6. About the Third Octave
7. Teaching Great Flute Sound
8. Solutions for Common Third Octave Problems
9. The Legend of “Kiss and Roll”
10. Our Lips are our Mouthpiece

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.

High Register Hacks for Intonation, Dynamics and Facility

Tags

dynamics, flute fingering, flute intonation, flute technique

In an earlier entry on this blog, we explored the reason there are so many cross-fingerings in the third octave. This time we are going to look at some alternate fingerings for solving intonation problems, controlling dynamics and improving facility in fast passages in the third octave.

There are three fingerings in particular that are problematic with pitch and response in the third octave: E, F# and G#. Trevor Wye calls the E and F# “gnomes” and devotes a couple of pages to dealing with them in the Practice Book: Tone. The problem lies in that there are two holes open different than the lower two register fingerings (rather than just one) creating more resistance in the response. What this means is the player must ensure there is enough air speed, otherwise these notes will drop down a fifth, hitting the lower partial. These notes are also sharp using the standard fingering. The most common mechanical solution is the split E mechanism. There are some brands that have a split E mechanism on their beginner flutes, either as an option or as a standard feature. There is a mechanical solution for the F#, though it is an extremely rare and expensive option on fine handmade flutes. I have heard of it, but I don’t think I’ve ever actually seen it except in a photograph. It is called the Brossa F#.

Here are some fingering hacks that will at least correct the pitch, if not improve response and some fingerings that give control playing softly (with sufficient air speed):

• High E – play without right pinky to lower pitch (especially important if this note needs to be sustained), add second trill key (D#) to play very softly (it can be sharp, so be sure to angle airstream lower)
• High F – can be sharp, add right third finger to flatten (better to learn to blow at a lower angle, but this works in a pinch)
• High Gb/F# – use middle finger right hand rather than fourth finger right hand to lower pitch (my preferred fingering, works best for all but a few arpeggios)
• High Ab/G# – add right third and fourth fingers to lower pitch (especially important for sustained notes), a nice hack for playing softly is to play Ab with the low Ab fingering and C# trill key, if you have it (generally available on step-up flutes and higher).
• High A – play with pinky on the C# paddle on the footjoint rather than the Eb key to play softly
• High Bb – Be sure that first finger left hand is up with thumb only (aim the air higher because it is flat), an alternate fingering for playing softly is TBb1-3|-D-3Eb (you have to be careful to blow down because it tends to be sharp).

Finally, one of the best technical hacks in the third octave is using left hand third partial harmonic fingerings in extremely fast passage work. D above the staff fingered as regular G, Eb = Ab, E = A, F = thumb Bb, F# = B, G = C, Ab/G# = Db/C#. A good example of where I might use these fingerings would be for the measured trills in the Chance Incantation and Dance. These are passages that are very fast and the normal fingering is just to chunky to be able to maintain the tempo.

If you find these entries helpful, please subscribe, share with your colleagues and come back next week for another flute tip. Please comment and please feel free to ask questions. Maybe the answer to your question will be the next flute tip. Find me on Facebook or email me at dr_cate@sbcglobal.net. For information about clinics and workshops click here.

Never Mind About Support

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blowing

“What??? But, but…….how can a wind instrument sound good without support?” That’s not what I’m saying at all. I’m saying we need to stop paying attention to “support” as a concept. Let me ask you a few questions. If I tell you to support your sound, what do you do? Can you explain what you are doing or how you are doing it? What is your definition for “support”? How do you explain “support” to your students? What do they do in their attempts to follow your instruction?

First, my observations about flute students who have been told to “support”.

• They are pinching the aperture, squeezing their lips
• They are clenching in their throat
• They are generally tense in their shoulders, torso, even in their hands and wrists

Secondly, here’s my definition for “support”. Simply put, it is having body energy behind the blowing. It involves using abdominal muscles, pelvic muscles and intercostal muscles of the rib cage. In other words, its a full body activity.

Rather than talking about “support”, let’s talk about blowing. If I say, “Blow fast (or faster) air,” do you understand what you need to do? Do you think students will know what they need to do if you give them that direction? If the air is moving sufficiently fast, the tone will be supported automatically. Support is the consequence of blowing quickly enough. All those supporting muscles are engaged in the process of blowing. You don’t need to “do” anything else besides blow with sufficient air speed to have a supported sound.

Beyond blowing sufficiently quickly enough, there are, of course all the issues of finding the right placement on your chin, having the blow hole open just the right amount, shaping the aperture, blowing at the correct angle for the register you are playing and so forth. But a lot of these issues will largely take care of themselves if the student is blowing fast enough air to begin with. So encourage your students to blow faster air.

Finally, air speed is different than air quantity. You can blow a lot of air through a large aperture and nothing will work well because the air isn’t moving fast enough. Not low notes (they will be wooly and unfocused), not the middle register because it will keep dropping down the octave, and not the third octave because it will either be so pinched as to not speak at all or keep dropping down to a lower partial. With the correct air speed and direction a flutist can play rich, focused low notes, have a clear, singing middle register, and be everything from heroic to ethereal in the third octave. It all starts with sufficient air speed. The rest comes through refining the direction of the air and sensitivity and flexibility of the aperture.

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.

Troubleshooting Tone and Pitch Issues

Tags

beginning flute, embouchure, flute embouchure, flute pedagogy, flute tone

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.

Shaping a Flute Aperture

Tags

beginning flute, embouchure, flute pedagogy, flute tone

It seems to me that understanding how to shape a flute aperture with your lips is likely the biggest mystery for non-flutists who teach beginning flute players. Surprisingly, this is one of the simplest concepts to grasp if you know the trick. The trick is to shape your lips as if you are saying the sound of the letter “W”, as in “what” or “wonderful”. Notice a few things when you do this:

• Your awareness is focused on the middle of your lips, almost as if you are gripping a drinking straw
• The corners take care of themselves and seal themselves. No attention needed
• Your lips naturally form an elliptical opening
• The perimeter of the resulting aperture is actually rather firm

For yourself and your students, try starting out without a flute headjoint. Put an index finger under your lip and say, “what” or “water” a number of times. Then shorten it and say “waaaa”. Then just shape your lips for the “W” sound and blow through the resulting opening. Voila! Flute aperture 101.The next step is to shape your lips and tongue behind the teeth where gum and teeth meet on the top while blowing through the aperture, “too, too, too……”, keeping a steady air stream. Finally, go through the above process with a flute headjoint on your chin.

Of course there is more to getting a characteristic sound than just shaping the aperture. And there are seemingly more variables than specific immutable features to making a good sound. Pretty much the headjoint itself is the only constant. People, their lips, size of their teeth and oral cavity are unique to themselves. Remember to:

• Bring the flute up to the bottom lip from below to rest where the chin and lip meet. Adjust up a little for a very full bottom lip, adjust down for a thin bottom lip. Avoid the so-called kiss and roll because this puts the flute too high on the bottom lip for everyone. It’s a one size fits all solution that fits no one. The sound will be thin, light and probably sharp.
• Keep the blow hole open approximately two thirds. This is easier to do if the flute is a little lower on the chin than higher for most people. Having any more of the bottom lip in the blow hole than 1/3 will make a stuffy, dull and flat sound.
• The corners will take care of themselves, provided your lips are shaped as if to make the “W” sound. Really! Try for yourself.
• Roll your bottom lip (not the flute!) out a little to go up the octave or raise the pitch. Reach over a little with your top lip to play low notes or lower the pitch.

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.

Teaching High Note Fingerings

How soon do you introduce your flute students to notes in the third octave? If you are using the standard band methods, probably not until the second year, at the earliest. Personally, I think this is a mistake that impacts the students for a long time. When you wait so long to introduce anything higher than C or Db above the staff, the students often wind up equating the third octave with being extremely difficult or even impossible. Another problem I encounter fairly often with young students coming from a band program is that they are trying to play in the third octave with regular first and second octave fingerings, essentially harmonic fingerings (which are more difficult to produce than the real fingerings).

By the time a student can play from low E or F to the C or Db above the staff, they are certainly ready to start learning the third octave fingerings. I introduce them one at a time using the old tried and true Octaves. That way I can show the students how the third octave fingerings are related to the lower and middle octave, as well as how they differ. Here are a couple examples:

•  D above the staff T023|000Eb compared to middle D T023|123. They left hand is identical in both octaves and the right hand switches from 123 in the middle to 000Eb above the staff
• Eb above the staff T1234|1234Eb, all your fingers on all the keys vs. middle Eb T023|123E with left first finger and little finger off the keys

It is possible to relate all the third octave fingerings to the fundamental fingerings from the first two octaves, though at the top of the third octave the fingering become more about harmonic fingerings of the note a 5th lower rather than a fundamental fingering (eg. the highest C is essentially a modified F fingering).

Once your flute students have some high register fingerings in hand, it’s important to get them to use the fingerings in the context of music they are playing. This means in band literature, technique class material, solo and ensemble literature and in exercises. Here’s an exercise I made up for practicing adjacent third octave notes in pairs and in groups of three. Feel free to tailor this exercise to the notes your students are learning in as many key signatures as possible. A little of this goes a long way. 

The granddaddy of third octave technical exercises is Top Register Studies for Flute by Thomas Filas. Though not for beginners, these can be used with advanced intermediate and high school students. They are short, melodic, in every key and really help students get comfortable navigating the third octave. This book would be a great tool for a high school technique class.

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.