So I’ve spent a little over a year learning to lengthen my phrases. This has led to a focussed embouchure and a pretty clean sound. I can get pretty good volume on my primary flute.
So the next step, at least in IrTrad music, is getting that good gravelly sound that gives a lot of tunes that sense of drive and direction. Something like Deirdre Havlin or especially that Garry Shannon tune that starts out WFO 1.
The only way I can get that sound is to broaden out the embouchure, which, of course, takes more air. Is there a way to get this sound without broadening the embouchure? If not, will I get so that I broaden it horizontally but narrow it vertically? Or do I just have to learn to take bigger gulps of air? (I haven’t improved at all gulping air – the thing that people say, “When you can play a tune faster you’ll be able to make breaths last longer” – hasn’t happened for me – flow has remained constant while the time for a breath has decreased.)
Another thing – I’ve tried to order some Garry Shannon discs from his site as well as the only other one I’ve found that purpurts to carry his label. I tried both a couple of weeks apart, and neither worked (plus Garry’s isn’t secure). Any suggestions?
PS – this family is way outside of the 3-sigma in talent. This guy just plays his ass off, and Sharon is one of the most creative musicians I’ve ever heard (box and whistle and fiddle, too), and Mary is quite a fine string player. All this without particularly musical parents, too. I’m simply amazed.
Good question. How long have you been playing? For a dirty tone, I use a combination of two approaches: a somewhat wider embouchure (in terms of length, like yourself), and a closer proximity to the outer edge of the embouchure hole while directing the airflow more deeply into the headjoint. The timbre becomes quite reedy for me that way, and the bottom D has a very satisfying set of nads to it.
The proximity thing helps to reduce the air needed, but you can get too close and lose tone altogether. Volume may be sacrificed, and I imagine this depends on the cut of the embouchure hole. This is where developing focus gets a workout. I’ve found it to be a bit tricky, but with practice it becomes habit, and eventually you’ll probably not need much more air to play “dirty”. Works for me, anyway.
Charlie, my favorite subject, flute breathing - seems like you think about it almost as much I do… I’ve been playing about 3 yrs+ now and have experienced the same thoughts you’re having about having enough air to comfortably play decent length phrases with a really full sound… the only thing I can tell ya is that, as I continue practicing regularly, about every few months my embouchure keeps improving and the breathing gets easier, even when I think I’m already blowing as efficiently as I possible can… I think I mentioned to you in the past that I have impaired lung function…low volume, flow rates…and yet my breathing capablity with the flute continues to get better… I’m almost convinced myself that it doesn’t really take much breath to sound pretty good - someone’s flute site says if you can carry on a normal conversation, you can breath well enough to play a dance set. Im now thinking it’s about 90%+ technique… embouchure, phasing, physical and mental comfort with the mechanics and a positive mental image - believe me, I never thought I’d be able to reach my current level of playing. Hope all this rambling makes some sense- Tod
On the subject of developing an efficient embochure, I actually find I can play longer phrases (even with ‘barking’ and bending notes) on the flute then I can the whistle! From outward appearances (a concert flute and D session whistle), you’d never think that was possible, but it just goes to show you what an amazingly small amount of the properly focused air-stream it takes to drive a flute well.