These days I'm composing mostly chamber music featuring woodwinds, and this was PERFECT for the questions I had about some of these techniques. Thoroughly well-explained w/clear directions. Thank you!
Thank you so much, i'm preparing my final concerto for my composition degree and this video was very helpful, please keep uploading more videos, let's make more great music!
I really appreciate your cool video. Your presentation and performance of the techniques in question are very straightforward, absolutely understood, and most important of them all is one thing hardly to be read in orchestration books; you talk as a performer suggesting what to do and what not to do, which is very helpful for a composer; the standpoint of the player! Thank you!!!
This is the love, and the power of God. I asked him to help you and scolded the depression. Let's see what he can do! I love you, he can make everything new
Hello Robin! I would like to ask you if you could specify range (or even specific pitches) in which these techniques are possible. Adler's orchestration book (at least the old edition) doesn't mention it. Thanks a lot! Ioannis.
Thanks for your whistle tones example (and notation). I needed it for a piece I'm starting to write. Jesus of Nazareth is the human vessel (come as a man) of the one true God, which is why he is called the unique son (in the Greek). I come in his name; I don't come in the name of any human institution. The reason he had to die was because no one else could ever claim to die for everyone's mistakes. So he did, and being blameless (this was the one who hung out with prostitutes and tax collectors but scolded the well-off, misguided stewards of God, who made an appearance of goodness on the outside, the one who scolded fevers away, restored sight, threw out filthy spirits from people's bodies, and raised the dead; had compassion and lived as he taught)-being blameless, having told his disciples this beforehand but they just didn't understand, he was physically restored alive on the third day. God is the one who paid for our mistakes. We were made to be united with God always, but something happened when we stepped out of that relationship. Here on earth, we can still come back to him, but we have to believe in what he's done: suffered as we suffer and died on a cross, dying the death of a criminal, taking the lowest station, abandoned by all but one of his disciples-under Roman occupation in a small quarter of the middle east. The way back to union with God is through Jesus. Other stuff has to be discarded. We're like ravens and squirrels trying to stuff an empty treehole with different shiny things, but that hole is where the living Spirit goes
Hello Robin, thank you very much. I´m a composer and pianist from Argentina. I would like to know if you have any video in which you talk specifically about air.
I have two videos. RUclips won’t let me link it but the one that’s probably the most useful for you is titled Contemporary Techniques for Composers: Air Sounds. There’s also one under the Contemporary Techniques 101 series but that’s more performer based
How many flautists do you think it would take in a section for whistle tones (indeterminate pitches, aleatoric rhythms) to have substantial volume if there is a soloist but no other instruments are playing...?
I have never really thought about it haha but I’d say 4-5 would probably be enough. I know they carry solo in a 300 person hall so I can imagine that adding a few more voices could hold up against a soloist. The flutists would have to be comfortable with the technique though!
They all are but some are less effective. Jet whistle for example is much harder to sound on a curved headjoint alto and whistle tones are quite difficult
I talk about this in the video and also in my stand alone key clicks videos. From everything I know it does not but some flutists do believe that it does. It’s something you have to talk to the player about
No part 2? :) my opinion on this techniques is that it is ok only if it is in a context, an additional punch for melody itself, a moment where you can focus more attention of listeners into your performance. But using it more like a show off or abusing of techniques is tasteless and childish.
Time stamps:
0:46 - Flutter Tongue
2:16 - Key Clicks
5:13 - Slap Tongue/Tongue Pizz.
6:26 - Tongue Ram
8:05 - Whistle Tones
10:08 - Jet Whistle
11: 56 - Singing/Playing basics
i know I'm quite randomly asking but does anyone know of a good place to stream newly released tv shows online ?
@Mordechai Cayson i would suggest Flixzone. Just google for it :)
@Messiah Roy Yup, been using FlixZone for months myself =)
@Messiah Roy Thank you, I signed up and it seems like a nice service =) I really appreciate it !!
@Mordechai Cayson No problem :D
Thank you for creating this video. I've been looking for this for a long time.
These days I'm composing mostly chamber music featuring woodwinds, and this was PERFECT for the questions I had about some of these techniques. Thoroughly well-explained w/clear directions. Thank you!
Thank you so much, i'm preparing my final concerto for my composition degree and this video was very helpful, please keep uploading more videos, let's make more great music!
Thank you Robin
Thank you😭😭
Very very useful, thoroughly explained. Thank you!
this is great!: I got my ASMR daily dose + solve my flute technique questions, Subscribed!
Huh! I wouldn’t have thought it could give you ASMR! That’s awesome!
very helpful. thanx.
Thank you very much
This was so good! Thank you for making this video.
I really appreciate your cool video. Your presentation and performance of the techniques in question are very straightforward, absolutely understood, and most important of them all is one thing hardly to be read in orchestration books; you talk as a performer suggesting what to do and what not to do, which is very helpful for a composer; the standpoint of the player! Thank you!!!
This is the love, and the power of God.
I asked him to help you and scolded the depression. Let's see what he can do! I love you, he can make everything new
Very useful video, as a composer I loved it, keep it going!
Hello Robin! I would like to ask you if you could specify range (or even specific pitches) in which these techniques are possible. Adler's orchestration book (at least the old edition) doesn't mention it. Thanks a lot! Ioannis.
Very helpful video, great job. :)
Flutter Tongue : On dirait un chat qui ronronne. Amusant.
This is very interesting, your video just came up while searching sth else but I got interested and clicked on you
Thank you!!
Thanks for your whistle tones example (and notation). I needed it for a piece I'm starting to write. Jesus of Nazareth is the human vessel (come as a man) of the one true God, which is why he is called the unique son (in the Greek). I come in his name; I don't come in the name of any human institution.
The reason he had to die was because no one else could ever claim to die for everyone's mistakes. So he did, and being blameless (this was the one who hung out with prostitutes and tax collectors but scolded the well-off, misguided stewards of God, who made an appearance of goodness on the outside,
the one who scolded fevers away, restored sight, threw out filthy spirits from people's bodies, and raised the dead; had compassion and lived as he taught)-being blameless, having told his disciples this beforehand but they just didn't understand, he was physically restored alive on the third day.
God is the one who paid for our mistakes. We were made to be united with God always, but something happened when we stepped out of that relationship. Here on earth, we can still come back to him, but we have to believe in what he's done: suffered as we suffer and died on a cross, dying the death of a criminal, taking the lowest station, abandoned by all but one of his disciples-under Roman occupation in a small quarter of the middle east.
The way back to union with God is through Jesus. Other stuff has to be discarded. We're like ravens and squirrels trying to stuff an empty treehole with different shiny things, but that hole is where the living Spirit goes
Thanks for making this video! Could you make timestamps for each technique?? That would be super helpful!
Sorry for the late reply but I will add it to my todo list!
And done for anyone else interested!
Thank you!!
No problem! I’m planning out part two finally and will make sure to add them from the start this time!
Awesome!! Can't wait!
Hello Robin, thank you very much. I´m a composer and pianist from Argentina. I would like to know if you have any video in which you talk specifically about air.
I have two videos. RUclips won’t let me link it but the one that’s probably the most useful for you is titled Contemporary Techniques for Composers: Air Sounds. There’s also one under the Contemporary Techniques 101 series but that’s more performer based
@@RobinMeiksins thank you very much!
Hola, el mueble que tienes atras donde estan los libros es de madera on de metal.
How many flautists do you think it would take in a section for whistle tones (indeterminate pitches, aleatoric rhythms) to have substantial volume if there is a soloist but no other instruments are playing...?
I have never really thought about it haha but I’d say 4-5 would probably be enough. I know they carry solo in a 300 person hall so I can imagine that adding a few more voices could hold up against a soloist. The flutists would have to be comfortable with the technique though!
@@RobinMeiksins Thank you!
Thnks for your helpful video.can you tell me plz if these Techniques are also playbable for Alto flute or not?
They all are but some are less effective. Jet whistle for example is much harder to sound on a curved headjoint alto and whistle tones are quite difficult
Does key click technique can destroy the flute pads?
I talk about this in the video and also in my stand alone key clicks videos. From everything I know it does not but some flutists do believe that it does. It’s something you have to talk to the player about
No part 2? :) my opinion on this techniques is that it is ok only if it is in a context, an additional punch for melody itself, a moment where you can focus more attention of listeners into your performance. But using it more like a show off or abusing of techniques is tasteless and childish.