I have my new flute two weeks now and I love it. I ordered and received a Pneumo Pro, because I was interested to see if it would make a difference to my embouchure. I was having difficulty getting a good bottom D . But after a few tries with the Pnumo Pro I found I was getting better results. I wonder if the likes of Crawford or Molloy would ever have had lessons in embouchure, or was it just a natural process for them . If fact would any of the older players ever have had access to such tuition. Im not plugging the training device I received , not have I any connection to the company. Im just a flute player trying to find his way. Most irish trad workshops Ive been to, spend more time on ornamentation, and the like, with little emphases on holding, breathing, or embouchure.
Can’t you just focus on hearing the sound and adjust your embouchure accordingly? I never heard of this device. If it helps you that’s great. But I bet that you sound better because it made you pay more attention to what you’re doing. You could probably have obtained the same result by listening more carefully and blowing with more control – i.e., not over-blowing.
Hi Julia
I do that anyway. but with this machine you can see where the air is going and focus on that. I find it works. But I always play by ear, and have done so for most of my music life. I only came to the flute in the last few years, so anyway I can find to improve interests me. The focus in workshops tends to focus only on tunes and ornamentation, and because i dont have access to a teacher, I have to plough on alone. This forum is a great help, I have to say.
It’s a visual feedback device for helping students consistently position a headjoint to their lips and to direct the column of air down into the headjoint. Also gives feedback on your airspeed.
How many people looked at the mirror when they first learned to play? Evidently we’re hoping visual cues will assist in our learning process.
I think the real question is does it eventually become a crutch? Ultimately Julia is right – minor corrections to our embouchure, posture, and grip are based on the instantaneous feedback we get from the flute itself: tone, playability, comfort.
I’d say if it helps, use it! Can’t see how it would harm? I don’t think you’ll end up a better player for using the “drop hollows the stone” line of thought.
I wish i could identify and correct the thing/s that make me get a tone that makes the flute buzz one day and sound like a broken kettle the next..
And if that would be easier with a propeller up just about any orifice - fine by me. Again, i don’t think i’d end up a worse player for it.
I think the real question is does it eventually become a crutch? Ultimately Julia is right – minor corrections to our embouchure, posture, and grip are based on the instantaneous feedback we get from the flute itself: tone, playability, comfort.
The hard part is figuring out which bit of feedback to associate with which variable. This device gives you unambiguous feedback on a small set of variables that affect the angle of your airstream. It makes sense, in principle, though I have not tried it. I did, however, get a lot out of a technique Terry McGee suggested in his article on the “hard, dark tone”: imagine you are trying to blow a grain of rice off your chin. This one bit of advice was the key thing I needed to change the embouchure I’d developed over decades of playing the silver flute. I could see this device being useful to someone who has less experience with the flute.
Interesting discussion. I don’t know anything about the device either, but if it helps, use it.
I did, however, get a lot out of a technique Terry McGee suggested in his article on the “hard, dark tone”: imagine you are trying to blow a grain of rice off your chin. This one bit of advice was the key thing I needed to change the embouchure I’d developed over decades of playing the silver flute.
I’ve also played silver flute for decades, and until I found the above article, had not realized what I should do differently to get a more trad Irish flute tone on my wooden flute. I started turning my head joint in and covering more of the embouchure hole, and it made a noticeable difference. Then I took 2 different flute workshops this summer, and both Conal Ó Gráda and Sylvain Barou offered individual advice on embouchure. I’ve been taking workshops for 5 years and this was the first time embouchure was addressed.
Sylvain took a long time with each student; he came up with seven things I should be doing differently. This kind of feedback, more like a private lesson, was really useful, even though it was a bit mortifying to find out, for example, that I didn’t always have it centred on my lip, something I tell students all the time. I guess that mirror really is handy. Sylvain plays with his upper lip extended out somewhat, and tried to have us all do the same.
Sylvain plays with his upper lip extended out somewhat, and tried to have us all do the same.