Some people have the gift of being able to talk for hours and days and weeks and months and years and still sound very interesting all of the time, some other people can talk for 2 minutes, and you want to leave the room, leave the building get out of town immediately and never come back whilst that person is around. I would be very happy if James Galway would stay around all of the time, he would be the most interesting person to listen to
I love Sir Galway Masterclasses. I live in Brazil and glad to Sir Gaway inspiration I'm doing an effort to buy the Moyse books. It's a kind of expensive to bring it from UK, about 30/35 Euros, but is so good when the book arrives 🎶🎵🎶✨
Tonguing has always been very confusing to me. Like your tongue is like a gate for your airstream and you build up pressure in your air column before it exits the embouchure, but because the pressure is increased wouldn't that make the pitch higher the moment you tongue the note and the moment you close the airstream? And if you reduced the pressure in your mouth to compensate would that not make the pitch flatter the moment after tonguing? Or are we supposed to just blow air at the precise moment that we tongue the note? And if so why do we even need the tongue at all? And how does it all work with accents and staccatos and different dynamics... Whenever I have to do accents I'm always sharp on the attack and often end up splitting the note (I think, for the above reason, that the pressure has increased). I wish I had a teacher who could have explained all this to me when I first started playing because it's been 17 years now and I still get confused about how to tongue.
Some people have the gift of being able to talk for hours and days and weeks and months and years and still sound very interesting all of the time, some other people can talk for 2 minutes, and you want to leave the room, leave the building get out of town immediately and never come back whilst that person is around. I would be very happy if James Galway would stay around all of the time, he would be the most interesting person to listen to
So much in so few words, and the playing paints an even deeper picture. A treasure of performance knowledge.
he's krutrock superstar.....
Чисто и искристо!
Браво! Сразу настолько всë прояснилось. 😊
❤ always great memories and Sir James is such a good teacher!
I love Sir Galway Masterclasses. I live in Brazil and glad to Sir Gaway inspiration I'm doing an effort to buy the Moyse books. It's a kind of expensive to bring it from UK, about 30/35 Euros, but is so good when the book arrives 🎶🎵🎶✨
Obrigado! muito útil seus ensinamentos..
Gracias
🇧🇬💐BRAWISSISSISSIMO, MAESTRO GALWAY!!!!! 🐘🍀
🌹BRILLIANT LESSON!!!🦄
🌸THANK YOU FOR
THE MUSIK!!!🐞🦉🏡🌞♾🌈🎼🎶🎵
Tonguing has always been very confusing to me. Like your tongue is like a gate for your airstream and you build up pressure in your air column before it exits the embouchure, but because the pressure is increased wouldn't that make the pitch higher the moment you tongue the note and the moment you close the airstream? And if you reduced the pressure in your mouth to compensate would that not make the pitch flatter the moment after tonguing? Or are we supposed to just blow air at the precise moment that we tongue the note? And if so why do we even need the tongue at all? And how does it all work with accents and staccatos and different dynamics... Whenever I have to do accents I'm always sharp on the attack and often end up splitting the note (I think, for the above reason, that the pressure has increased).
I wish I had a teacher who could have explained all this to me when I first started playing because it's been 17 years now and I still get confused about how to tongue.
I want him try basoori ❤🇮🇳
ゴールウェイ先生
こんばんは
フルートのレッスンには
関係ないのですが、
先生は、どこの教会に
所属されているのですか？
日本の羊🐑