I think I’ve figured out one thing that’s been giving me problems maintaining a tight embouchure: the head moves around when I’m playing, so that I have to soften up my lips to allow them to move with the flute.
I can maintain a good tight stream when doing exercises, but the minute I start doing something that involves moving a lot of fingers, the flute starts jumping around and I have to hunt for the right place to blow. Does anyone have any suggestions how to combat this problem beyond practice practice practice?
Try adjusting your right hand grip. I tend to put my thumb more on the side and out, rather than in and slightly under like many folks due. I’ve never been been able to get a hang of it the ‘standard’ way.
This is something I’m still working on, so don’t take this as gospel.
Jeez Charlie thanks for mentioning this problem. It is exactly what is driving me crazy right now. I can play scales all day long and think I realy am a flute player but when I start a tune, bingo, either no volume or to much hiss or god forbid nothing at all. I refuse to change my grip. It is very stable and the right hand pinky is finaly doing its thing automaticly now. I sometimes think it is the fact that I am consintrating on the tune and not my lips or my air flow but I just don`t know. I sure hope this thread will cast a little light on this bugaboo.
The second you start losing control of the airstream stop playing. pause, perhaps take a hit on your pint. the, take whatever it is that you’re playing (a phrase or just a few notes of the tune you’re playing) and slow it down to the point of turning the series of notes into a slow air, or, simply, an exercise. you’re embouchure will tighten in again (“oh yes, this is what i’m supposed to be doing”) tone will click in again, like a CD that’s stopped skipping. Slowly increase speed, but lead the tune with the airflow/diaphragm. Focus gently on breath support/embouchure, and perhaps even your posture. Forget about the fingers. if you can’t get the fingering, practise the tune on a whistle first to get the fingering down. That’s be my two cents. Good luck…
I’m like Tom - I have this problem more when I’m really concentrating on what notes comes next because I’ve just learned/am learning a tune. Once I know the tune by heart, my playing is better because I’m concentrating on tone and rhythm instead of the next note around the bend.
My 2 eurocents here…
play in front of a mirror and look carefully what you’re doing when
breathing. embouchure must be tight but at the same time relaxed,
you should be able to take a breath without changing the shape (and
also the right amount of tension) of the lips.
Ciao
Michel
I think what Eddie’s mentioning is a variation on the Rockstro grip, mentioned here on Jim Peeples’s website.
It sounds to me, Charlie, like you are gripping too tight. I think it’s easier to play with the flute stable and your fingers allowed to dance on the surface. To that end, something like Rockstro might help.
I think the key to Rockstro is that the flute sit on a tripod formed by your chin/lower lip, the big joint of your L index finger, and the thumb of your right hand. You should be able to play a C# (OOO OOO) without dropping the flute. It’s a little strange at first, but once you get the hang of it I think you’ll notice your ornamentation loosens up quite a bit.
Chas,
simply lower your low jaw (sorry for repetitions!) when breathing,
mantaining the same tension/shape on the lips.
Also mind the position and the relax of the lower jaw, that has a very important role in tone production.
Ciao
michel
I find that the amount of pressure I use with the flute against my lower lip plays an important part of my embochuer(I know, spelling.) Is this correct or have I developed yet another bad habit? This thread has kinda sent me back to the drawing board yet I don`t realy want to start all over again. It has taken so long to be able to get good tone and to play a tune now and then.
I have had to deal w/ the flute bouncing around, too, and in some keys more than others. If I keep a death-grip on it, the problem worsens by far, and so my goal was to get to the lightest grip possible. After all, the flesh of the fingers only needs to seal the toneholes, and -for me, anyway- simply resting the pad or joint on the tonehole does the job so long as it’s centered (I have small hands, BTW). A light grip allows the fingers to be very nimble, and with practice, this can be acheived with consistency. In my case, for example, certain progressions and ornaments still find my grip reverting to an unrelaxed hanging-on-for-dear life condition. To reiterate Jim’s input: practice, practice, practice.
I also orient my face to the flute at a somewhat more downward angle not unlike the way Matt Molloy does it; as the head end of the flute is likely to be moving in an up-and-down direction when unstable, this affords me additional control. Now if only aping Matt would make me play better!
As for breathing, I try to breathe in w/ my nose and mouth at the same time; this allows me to alter my embouchure less, and intake is freer. If the diaphragm is expanded to pull the breath in (it’s as if the air “falls” into the lungs) as opposed to a feeling of sucking in the breath from the mouth and nose, it’s easier to be less noisy about it, too. Not only do I have small hands, but my nostrils are narrow, and yet I can still do this. I have to flare my nostrils to accomodate, but the good thing is that I can.
Nano, that breathing action sounds like it would be very helpful to practice. Unfortunately, in my younger, dumber days, I had my septa deviated to the point that my nose only serves to reference the rest of my face. Do you have any breathing suggestions for us mouth-only breathers? Sometimes, it is tough to breathe properly and sufficiently, particularly during a fast tune.
I think you can do the same thing anyway. If you can inhale with a feeling that the breath rapidly “falls” into the lungs rather than being “dragged” in, your inhalation is more efficient. Actually, all one has to do is expand the diaphragm without making a conscious effort at inhaling, and you’ve already inhaled without trying to a pretty fair degree, and quietly, too. If you need more air, you adjust for that. It works for me. Your mileage may vary, depending on details such as health or the need to practice at this method if it appeals to you. Remember, quick intentional diaphragm expansion rather than making an effort of breathing is the idea; air intake almost seems like an afterthought, and is deceptively fast this way, or so I find.
That’s the working model. Unfortunately, from time to time I forget to breathe, and wind up gasping anyway.
I want to add to all this good advice on breathing that an open, relaxed throat is essential for quick/deep breaths. The soft palate must be raised, and the throat opened, much like when you yawn. (Practice this approach very much, and you WILL go to sleep).
