As a recent convert from High Pitch Bb flute to D flute I am finding some of the transition more challenging than I initially expected. I am improving each day and I am sure with practice I will get there. Hopefully its ok to ask seasoned fluters, flutists or flautists whichever you prefer, a question on breathing.
I am more conscious now on where I should be taking a breather especially in reels and I wondered if there was any science in this or just take a breather when you need it as long as the tune doesn’t suffer?
I am listening to lots of great fluters on Youtube but have also downloaded quite a few digital albums from Amazon etc and love hearing the same tunes played slightly differently by different artists, I was wondering what the technique is used when playing some reels where the player seems to be blowing slightly harder on the beat? I have tried and don’t think it sounds correct at all so I was hoping someone who does this might be able to share the secret.
This clip is typical of what I am trying to explain.
I’ve found this to be one of the hardest aspects of Irish flute playing–breathing in reels. I think the basic concept is to drop a note and take breath. The question is where? That comes down to interpretation and how you hear the tune and want to play the tune. In the clip you have attached, that player tends to drop the last note of a 2-bar or 4-bar phrase and take a breath before hitting the downbeat and start of the next phrase. That’s one place. Others play through the phrase, sound the first note and then drop a note/take a breath. But one probably shouldn’t breath in the same spots all the time with the same phrasing, but you can. It’s very complicated and challenging. It’s also good to figure out if you can take two breaths close together to load up before launching into the beginning of the tune or a particularly long phrase. I’ve learned from Matt Molloy about this a bit. Here in this Bothy Band set, http://www.youtube.com/watch?v=bJzWPBA7Jmo , the 3rd tune is Morrison’s jig and you can take two breaths close to each other at the end of the tune before starting the tune up again. I know it’s a jig, but you can use the same concept in reels. You can also clip roll and take a breath there. So many options. I’m still figuring it out and experimenting 7 years in.
Thanks Jason, I guess its a case of practice and keep checking to see if it sounds ok, that I can do, so thanks for your help.
There are so many different styles, I suppose I just need to get out there and meet other players.
Another cool trick is to take a breath early in the A part right when you start the tune. For instance, in Temperance Reel play G2GF GABcd ge dBAc BEED… I do that in a number of reels. Helps to stay tanked up for the grueling task ahead. John Skelton recommended that technique in a class I took from him.
It’s all in the phrasing. Just like talking, you have to ask yourself where you want to break the sentence, and what the point of the sentence is (i.e., what bit you want to emphasize). And you might change where you breathe as you go through successive rounds, too.
I think the best explanation (and exercises) I’ve come across on the subject are in Conal O’Grada’s flute tutor. He takes some tunes and shows how breathing in different places creates different effects. He also “looks under the hood” of some other players’ playing (including Harry’s). If you can get your hands on a copy I’d highly recommend it.
Yes, I recommend breathing while playing reels. . .
Seriously, starting with simpler reels if you analyze their structure you will find they are based on a fairly straightforward Statement/Response
format. Part A may have a rhythmic ‘Statement’, ‘Response’, and a ‘Summation’ or Rephrase. The same will often then be true of the Turn or ‘B’
part. Looking for these little bits help isolate the phrasing and consequent breathing spots. Look at a simple setting of ‘The Morning Star’.
The small changes in pattern, and openings for twiddley-bits help to alleviate sameness and tedium. Another simple reel would be ‘The Primose Lass’.
After you can spot these simpler forms, then you can move onto more challenging and complex forms. Sometimes the entire first phrase will be the full 16 bars, and also for the turn. But first learn to walk before you run. (Thank you Mr. G.! ).
You can even search for that here on the board.