About relaxed hand position, for right-hand position, I learned the Kincaid thumb in the early 70s from my teacher, who was a student of Kincaid. I call it that because Kincaid wanted most of his students to use it. He thought the right thumb should be behind the flute instead of under it because it would free tension in the fingers to not have the right hand thumb supporting the flute. Unfortunately, it puts more weight on the left hand and doesn't help with tension there. So I'm not sold on the Kincaid thumb. Having not touched the flute for a number of years, I recently started playing it in my old age and it is nice to have the resource of videos like this to consider and experiment with various tips about flute playing.
I love your sense of humor: "I hope that was helpful, and if not at least it was free!" By the way, it was very helpful! Wonderful advise from one of my favorite composers and flutists!
Dear Gary, thank you very much for your advice! Today, just before starting playing, it came to my mind your "breathing excercise" while warming up the flute and your body... So I did it and the result was obvious. It helped me a lot. Remembering that feeling the sound is much deeper and colourful.
Dear Gary, I don't know if you even remember me.. I was living in San Francisico and you were staying at Laurel Zuckers place in Sacramento < when she and Davis were together). I used to be a student of Laurel's as well as a student of Tim Day. I called up to Laurels one sunday afternoon and you answered the phone. We had a great long conversation about flutes and music. Laurel etc. I now live in PHiladelphia, Pa and I still play flute... imagine that! find me on Face book. Richie Chameroy
The bit about the tongue being relaxed, especially in the top register relates to the soft palate (top of mouth cavity). The airspeed increases when this contracts (very subtle). Work on the overtone series with minimal embouchure change (position and angle of attack). Also see Joe Allard's The Master Speaks (on RUclips but directly speaking to clarinet).
Also you couldn't have put this lesson in more sense. I also use the word "toll or dole", as a foundation for thinking of attack reverberation and sustain. Again thank you Gary you sweet man you... lol
Thanks Gary...definitely want to try this breathing idea as well as the vibrato. I've had several teachers tell me to start the vibrato right at the beginning of the note, particularly in performance pieces where you might have a held half note (in 4) which needs the vibrato added. The comment has been that if you don't start it right away by the time you do the note is almost over. Thoughts?
About relaxed hand position, for right-hand position, I learned the Kincaid thumb in the early 70s from my teacher, who was a student of Kincaid. I call it that because Kincaid wanted most of his students to use it. He thought the right thumb should be behind the flute instead of under it because it would free tension in the fingers to not have the right hand thumb supporting the flute. Unfortunately, it puts more weight on the left hand and doesn't help with tension there. So I'm not sold on the Kincaid thumb. Having not touched the flute for a number of years, I recently started playing it in my old age and it is nice to have the resource of videos like this to consider and experiment with various tips about flute playing.
I love your sense of humor: "I hope that was helpful, and if not at least it was free!" By the way, it was very helpful! Wonderful advise from one of my favorite composers and flutists!
a good laugh at the end!
Thank you for the free lesson and the laugh!
Dear Gary, thank you very much for your advice! Today, just before starting playing, it came to my mind your "breathing excercise" while warming up the flute and your body... So I did it and the result was obvious. It helped me a lot. Remembering that feeling the sound is much deeper and colourful.
Thank you! I've tried to get this sound but had no idea how to do it and my conductor had difficulty explaining. This is really wonderful!
Thank you for sharing your knowledge on the flute: your comments are intelligent and illuminating...
Thank you so much for the help! The breathing thing really improved my playing!
Dear Gary, I don't know if you even remember me.. I was living in San Francisico and you were staying at Laurel Zuckers place in Sacramento < when she and Davis were together). I used to be a student of Laurel's as well as a student of Tim Day. I called up to Laurels one sunday afternoon and you answered the phone. We had a great long conversation about flutes and music. Laurel etc. I now live in PHiladelphia, Pa and I still play flute... imagine that! find me on Face book. Richie Chameroy
The bit about the tongue being relaxed, especially in the top register relates to the soft palate (top of mouth cavity). The airspeed increases when this contracts (very subtle). Work on the overtone series with minimal embouchure change (position and angle of attack). Also see Joe Allard's The Master Speaks (on RUclips but directly speaking to clarinet).
Also you couldn't have put this lesson in more sense. I also use the word "toll or dole", as a foundation for thinking of attack reverberation and sustain. Again thank you Gary you sweet man you... lol
Hi. Thanks for the great video. Sean
Baker did that because he knew if he focused on a nice, thorough exhale, he won't have to worry about the inhale.
Thanks Gary...definitely want to try this breathing idea as well as the vibrato. I've had several teachers tell me to start the vibrato right at the beginning of the note, particularly in performance pieces where you might have a held half note (in 4) which needs the vibrato added. The comment has been that if you don't start it right away by the time you do the note is almost over. Thoughts?
love it!
"At least it was free!" xDD
he was playing syrinx :o
What headjoint that?
Syrinx hahahaha