Teaching with Extended Flute Techniques

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  • Teaching with Extended Flute Techniques

    Over the past 20 years extendedtechniques have become a fun-damental skill for aspiring andestablished professional flutists. Collegestudents cannot escape studying at leastone piece with extended techniques, andprofessional flutists encounter them on aregular basis. Despite their prevalence,contemporary techniques are largelyignored by teachers of young students.They address them when students askbut often fail to explain how they alsoapply to traditional flute playing.Teachers of all levels should incorporatethese techniques into their curriculum.

    Pedagogical BenefitsContemporary techniques can

    improve the primary fundamentals forgood tone production. Many materialsare available to help teachers useextended techniques as pedagogicaltools (see appendix). Students will

    By Alexis Del Palazzo

    appreciate the quick progress thatresults from using these techniques.

    They also break up the tedious rou-tine that often occurs when workingwith beginning students. Many begin-ners grow frustrated when progress isslow. When students explore and exper-iment with something fun like throattuning (singing and playing or vocaliz-ing) or harmonics, they see the expand-ed possibilities of the instrument.

    Finally, familiarity with extendedtechniques at a young age is tremen-dously beneficial for flutists who willpursue music as a career. Students whoonly learn traditional repertoire aremore likely to reject extended tech-niques when they encounter themlater. Teachers should work to createwell-rounded musicians through expo-sure to various types of music, even forthose students who may not choose acareer in music.

    Tone DevelopmentHarmonics, throat tuning, and whis-

    tle tones help develop the embouchureand create a focused, resonant sound.They can be introduced to beginningand intermediate students, either aspart of the regular curriculum or as par-ticular fundamental problems arise.For example, harmonics develop lipstrength and focus in the low-mid reg-isters. Various exercises, regardless oftheir perceived level, can be useful insolving students' problems.

    HarmonicsThere are many harmonic exercises

    that are easy to learn and memorize.As Robert Dick explains in ToneDevelopment through ExtendedTechniques, harmonics occur "whenlow octave regular fingerings areoverblown through their overtoneseries. The flute produces pitches in

    Music Minus One;vc( ) / ' i / / / / i ; Ctlili

    ivaldi: The hmr Seasons m'tvr /

  • AZUMl- ?

    FOR THE GROWING FLUTIST

    A Z U M I F L U T E S . C O MA PRODUCT OF ALTUS HANDMADE FLUTES

    Weekly PraclMonday ' '

    Tuesday

    Wednesday .

    Thursday

    Friday

    Saturday

    Sunday

    Ringing D's , -(or pitch that is best)

    Ringing D's

    Ringing D's

    Ringing D's

    Ringing D's

    Ringing D's

    Ringing D's

    Vocalizing(Robert Dick Ex.) .

    Lukas-Graf Ex. ' "j

    Robert Dicfc Ex. r '-.

    Robert Dick Ex: u. ;, -' '' ._,> **

    Robert Dick Ex.*

  • Long Tones(Moyse, De la Sonorite)

    Moyse

    Moyse

    Moyse

    Moyse

    Moyse

    Moyse

    Whistle Tones

    Whistle Tones

    Whistle Tones

    Whistle Tpnes, ,,.,

    > '' ' v^'< *{*'

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