Does anyone have a good way to play the flute QUIETLY. I have neighbors close by and - because of my work schedule - find myself wanting to play in the wee hours of the morning. Is there a special flute I can buy or make to practice quietly?
I asked this same question several years ago. At that time somebody suggested putting a piece of chewing gum in the head joint. Is that still the popular wisdom?
Thanks,
Jeff
If tone doesn’t matter, the simplest way is to just aim the airstream over the embouchure. You’ll hear a faint, breathy note which is just enough to provide aural feedback on how your fingers are doing.
Hugh
I would say just practice playing quietly. Start with the second-octave G and see how quietly you can blow it without it going flat.
This is easier on some flutes than others. When I got my Olwell Nicholson I was blown away by how quietly I could play it.
If you want a flute that begs to be played quietly I’d suggest a traverso. The Aulos matte black Grenser is inexpensive, but a really nice flute.
rt, just play quietly. However it’s easy to forget oneself.
anyhow it’s good practice to play quietly.
also the sweetheart D softwood flutes are quiet.
I use a sweet cherry C for quiet.
I just play quietly too-good for breath and embouchure control, but Terry McGee suggests this on his website if you want to practice like you mean it-like you were playing normally-or at session:
It works for whistles too!
Another option for practising quietly is to roll the flute in a bit too much for normal play and blow down into the flute. It’s possible to find a “spot” where you can get a warm, controllable tone that is much quieter than normal, although considerably flat of concert pitch. I used to use this scheme when I was flatting in Ireland, so as not to wake up the whole house.
This also provides an opportunity to practise something else: dropping the 2nd octave parts of a tune down into the first octave. Doing so makes the whole routine much quieter, and going through your repertoire in this fashion prepares you for using the octave drop as a variation when playing at full volume. Two birds! Or maybe three…I find that the whole thing works best with a really focused, efficient stream of air, exactly what we should all be aspiring to in the first place.
Rob
I, too must practise quietly most of the time, and consequently am in the first register a lot.
I’m wondering if this will warp my long-term development, as it takes much more oomph to go higher, and I’m not working the proper musculature. I’ve tried a few of the other suggestions, but I miss the solid tone. I haven’t tried the sticky-tack method yet.
p.s. btw, I like the idea of dropping the second octave down to first as a practise tool. I’ve been trying to learn songs that don’t use much above high e or f#.
playing quietly can be great for embouchure control. i’d recommend learning to play second and even third octave notes quietly, very important. and also to try to get as much tone color as possible under controlled situations.
when the time came to play with more volume, i found that the muscles involved in the embouchure were quite efficient, and made volume control easier. after all, on most flutes, alot of air isn’t needed to project tone, just nice strong lips and hitting the sweetspot of the flute. many beginners overblow and lose control of the airstream. when i get a new flute, i usually find after a while i am playing with less air to get the same amount of volume. only thing that changed was my intimate knowledge of the flute, yielding control and efficiency.
You know, I was actually referring to the ribs and abs musculature.
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I don’t always get it going, but when I do, that base of support feels fantastic. When playing softly, I do play more from the head and neck.
I play in bathroom with 2 doors closed. Very comfortable with 2 big mirrors around and strong lights. My gf never complain 'cause i clean the bathroom more regularly 