Dr. Cate’s Flute Camp goes Virtual

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flute camp

We’ve been doing Dr. Cate’s Flute Camp the old-fashioned way for 20 years in a school, at a music dealer, in person. Now due to the world being a completely different place since March, Dr. Cate’s Flute Camp is going virtual. And you know what? I’m really excited for this new opportunity to help keep students playing their flutes, give them some ensemble experience, explore the basic skills of good flute playing, learn about different types of flutes from around the world, and learn how to properly take care of their instruments.

Instead of the full day format we’ve had in the past, we are condensing the instructional part of the day down to two hours. During the course of each one week camp, each student will also get a 30 minute lesson from one of our highly qualified staff. We are also expanding the number of available sessions to three for junior high students and three for high school students, starting the week of May 18.

If you or your students can benefit from an online camp experience over the summer, go to fluteline.com and follow the links to Dr. Cate’s Flute Camp and the easy online registration. You can read all about our award winning staff and learn more about our camp activities. Price for each session is only $100.

Flute Go Juice

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articulation, dynamics, embouchure, flute pedagogy, vibrato

We have spent a great deal of virtual ink on this blog exploring flute embouchure, articulation, intonation, technique, dynamics and vibrato. While all of these things are essential to good flute playing, we’re overlooking the elephant in the room, namely blowing. Indeed, if you don’t have good mastery of blowing, you aren’t going to be able to articulate well, play in tune, control dynamics or play with vibrato. All the blah, blah about embouchure is meaningless if you are not moving air through the embouchure into the flute. Technique is worthless without the air behind the fingers.

A few thoughts about blowing as it relates to teaching kids, in no particular order:

• Beginners – give me a kid with an enthusiastically windy sound any day over a kid that is timidly tweeting little peeps. It is much easier to help the first kid refine their sound and become more precise with how they direct their air than to get that shy kid who is barely making any sound to actually put some air into the instrument.
• Students who come to the flute from a piano background often have to be cajoled into blowing more. My conjecture about this is that they are used to thinking of the sound being generated by their finger technique. You need to help them understand their fingers make very little sound , but that their go juice on flute is the air stream.
• Hold off on teaching/expecting dynamics until you are sure the student has sufficient mastery of steady blowing to be able to understand the difference between air speed and air quantity. Getting to this point can take up to a couple years, depending on how much they play in band/practice on their own.
• Encourage your students to blow freely and refrain from using what my teacher, Tom Nyfenger, called the nay-palm, shushing your young flute players in the front row to hear the brass line behind them. The flutes are not impacting the balance of the ensemble they way you think they are. The reason they sound loud to you is they are sitting right under your baton. This is so incredibly damaging to developing young flute players. The truth is, a flute will never be able to compete in terms of volume of sound with most any other instrument in your ensemble, not a trumpet, a saxophone or even a clarinet. By shushing them and not instructing your flute players how to play more quietly, the kids develop all kinds of negative compensating behaviors such as pinching the aperture, squeezing in the throat, clenching their teeth and just not blowing. The consequence is that the flutes sound terrible and have horrendous intonation problems. These problems are then compounded if you then tell them to roll in or out to fix the pitch. All of these problems with evaporate if you encourage your students to blow in the first place.
• If your students know how to blow well, learning to play with vibrato, developing lively articulation and meaningful technique is part of a natural progression of acquiring skills. Good blowing and a steady, supported air column facilitate all these skills. You have to have the go juice first.

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.

Some Thoughts on Vibrato

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blowing, breath control, flute tone, vibrato

Once you have started your students on playing with vibrato and they are starting have some control over the speed of the vibrato, you will want to introduce other exercises to help with control of the speed and amplitude of the vibrato.

After you students have learned to pulse the air column in eighth notes, triplets, sixteenth notes and sextuplets, introduce this exercise. This way they have to repeat each pair of notes at different speeds before going on to the next pair. This sample has only a few pairs, but be sure to continue up at least an octave.

The choo-choo train exercise links the parts of the exercise above so students learn to accelerate and decelerate their vibrato within the span of one breath. Pick a low register note. Make sure to take a full breath. Over  eight beats at mm=60, start out slowly, accelerate to around 6 pulses/beat and then decelerate to approximately eighth notes.The point is to seamlessly get faster and slower without a definite number of pulses per beat.

Vibrato in the high register requires some extra effort beyond what it takes to incorporate vibrato in the low and middle register of the flute, especially at the fuller dynamic levels from mezzo-forte to fortissimo. Because of the higher frequency of the sound in the third octave, you have to engage the abdominal muscles more to make the vibrato noticeable. You could even say there is an additive quality to playing forte with vibrato in the third octave, meaning you have to physically push into the pulse from your abdominal muscles. This is different than lower on the flute, where you are letting up to generate the vibrato. The extra push is needed to widen the amplitude while maintaining a faster speed vibrato. If you don’t pulse with the abdominals, you will get an essentially straight tone. A light, shimmery vibrato for piano and pianissimo playing is created more similarly to vibrato in the other registers by letting up, very fast and with a shallow amplitude.

You are going to want your more advanced students to learn to incorporate vibrato on sustained notes. In band literature, there are numerous examples of the entire flute section hanging on a pedal point in the middle of the texture or floating above the ensemble. You will want to have them play with more than just a steadily pulsing vibrato through the duration of the note. This isn’t very interesting for either the flute players or the audience, not to mention that is isn’t very musical. See if you can have your flutists vary the speed and amplitude of the vibrato through the duration of the note to match the phrasing in the other sections. That way the flutes can provide more support for the other sections and help the rest of the band shape their phrases with more sensitivity. It will also help your flute players feel like they are making more of a contribution how the entire ensemble sounds.

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