In advanced flute pedagogy, there is increasing agreement on
the importance of teaching basic flute technique using “Extended Techniques".
Extended Techniques are new ways of creating sounds or simply new sounds, beyond
the polite, well-bred and mellifluous tones we expect from the flute in
traditional or classical art music. Extended techniques are the results of the
search by contemporary composers to expand their expressive and sonic palette.
Some of these composers have worked closely with flutists, others are flutists
and today, they are not so new any more!
Many essays and books have already been published on this subject, but beyond
the need to master these techniques in order to perform the compositions that
employ them, it is important to note that these non-traditional techniques are
now included in the flutists daily practice to improve traditional flute
technique.
In fact, utlizing these new techniques is extremely fruitful for developing
embouchure strength and suppleness. I am in complete agreement with this new
approach. Based on my own experience and that of my students, I am convinced
that using these new techniques give the serious flutist not only an enhanced
and renewed artistic point of view, but improve the playing the simplest of
tonal melodies.
Here, I would like to recommend some simple and useful exercises to be played on
the piccolo.
First, a technique called “sing and play”.
If we look at example 1, we can see that it
consists of playing a simple arpeggio while singing the root of the triad.
Do this throughout the complete range of the flute.
The example is in D major, but you can start from a whichever note is more
comfortable for your vocal range.
Your singing must be stable, in tune, loud and clear.
Play the flute with a full sound too.
When you repeat the arpeggio on the flute only (without singing), make certain
that your throat has not changed position, for your goal is to transfer the same
openness and position that we naturally use for singing - to your flute playing.
Establish abdominal support well so you can play/sing one complete octave while
keeping the larnyx down (we do this by thinking of the syllable "aw").
Be conscious of and prevent unnecessary movements of the throat.
The size of the opening in our throat is necessary for the tension of our vocal
chords. Singing the same note while we play an arpeggio helps us understand when
and which unnecessary movements our larynx makes.
It is amazing to discover how many movements we unconsciously make!
When you start doing this, you may find that you follow the notes of the
arpeggio with your voice. That is a sign that we guide our blowing while moving
our throat and this is what we want to prevent.
The presence of our vocal chords is an obstacle to our air pressure, so we are
obliged to use more force to play a note.
This exercise is particularly beneficial for flutists beginning piccolo or for
flutists who plays with insufficient support or air pressure.
For the same reason, we are compelled to reduce the opening between the lips.
When this happens without excessive tension, we have naturally discovered a
comfortable embouchure setting.
Once this pattern is set in your mind, apply the same process to other patterns.
I recommend some in exercise 2, but use your
imagination to create others - the possibilities are unlimited!
Remember the goal, the ability to easily bridge large intervals smoothly,
without the interference of larynx.
If you do this exercise correctly and consistently, you will reap many benefits!
.