We also talked about ways to create “chaotic” sounds without playing scale-like passages; using third octave fingerings but playing the lower partials or using those fingerings as key clicks contributes well to this sense of chaos. We can also use the mouth to amplify key clicks. Related to fingers, Robert again encouraged shifting thinking to focus on the lifting of fingers rather than the closing of keys/fingers when playing.
We also went through some standard repertoire. In relation to this, Robert suggested that for big finishes, a productive tactic is to imitate a string instrument ending: accelerate the air, and throw the flute away from your face following the “up” wave of the vibrato.
This website has some “resources” (aka toys) to visually show circular breathing status and at reasonable prices.
- I borrowed the Murray student model flute. It hurt my brain to try to play. But the left hand pink set up was THE BEST. I would consider adding it to my flute if I had the money.
Until next time!