Alex Gemmell S Flute Notes

ALEX GEMMELL’S FLUTE NOTES Appeared in two issues in 2003

SOME THOUGHTS ON FLUTE PLAYING

Resonant, full tone is largely dependent on a relaxed, open throat, with well-shaped lips and firmly controlled body pressure. Frequently sing (or say) ‘ah’. Notice how this opens the throat, the lip corners come in a little, and the lower lip hangs forward – all good flute-playing features. Keeping the throat open, blow a thin stream of air silently through a lip tunnel straight forward, as though saying ‘hoo’. To direct this air stream down at about 45°, pull the top lip slightly down and firm up the lower cheek muscles under the lip corners. Place the head piece of the flute gently on the chin with the lower lip everted and partly covering the tone-hole of the flute. Air blown into the flute should pass over the moist, fleshy, inner part of the lips rather than the outer dry part. The red-white join should be on the edge of the tone-hole. Checking with the aid of a mirror will help. The air-stream should originate and have its strength from the muscles of the abdomen pressing the diaphragm upwards and so pushing air from the lower part of the lungs. Taking a breath is best done by expanding the abdominal muscles, thus causing the diaphragm to stretch down and allow air to flow into the lungs. This can be done quickly and air is then ‘sucked’ into the lungs. Good flute players have strong body pressure and active abdominal and lower chest movement. Standing with the left foot forward, with body weight more on the right foot, point the left shoulder at the left corner of the music stand. This gives good balance, an easy position for the flute to be held, and allows relaxed abdominal muscles. Fingers need to be relaxed, comfortable and to touch the middle curves of the keys. Those of the left hand should be well-arched with the flute supported by a slanting first finger. Right hand fingers are best placed at right angles to the flute with fingers slightly curved outwards and wrist straight and relaxed. Watch the position of the right thumb. All fingers should be kept as close as possible to the keys. Low notes require a slower air-stream with more air than higher notes, the body pressure region being low down and wide. The jaw should be drawn back a little with the flute kept turned out. Higher notes need a more intense air-stream brought about by the lips being further forward with the embouchure smaller and nearer the back wall of the tone hole. Body pressure should be firmer and pushed up higher. Play an open-throated ‘haa’ into the flute at all times. ROUTINE FOR BREATHING AND TONE

Long notes, arpeggios, scales: slowly, with quick, large, silent breaths.

Stand comfortably – left foot forward.

Relax fingers.

Check that flute is placed correctly in hollow of chin with lower lip spread and covering part of tone hole.

Relax and open the throat.

Feel air filling the nose and sinus cavities.

Using a half-scale or a small group of notes, e.g. C, B, A, B, C, play slowly these tones:

(1) Loud Top lip stretched down. Air blown downwards. Jaw down. Lots of air with active body pressure.

(2) Soft Jaw up (not forward). Air blown upwards. Tight body pressure. Little air.

(3) Strong and hard (can be loud, soft or medium in volume). Tight upper lip resisted by the jaw.

(4) Weak (can vary in loudness) Fluffy upper lip.

(5) Detaché Notes separated in barking style.

(6) Staccato Tongued detaché.

(7) Vibrato Detaché joined into a smooth wave. DAILY WALL PRACTICE Appeared in July 1994 issue.

Knees flexed and heels 10 cms (4 inches) from the wall. Lower part of back flat against wall. Back of head touching wall.

Flute headjoint placed in chin curve, and under lower lip. Top lip pulled down and drawn firmly in. Lower lip rolled out and puckering down. Jaw forward in chewing position.

Play: 1. long “haa” sound pushing abdomen strongly in and down 2. detaché using strong abdomen pressure 3. staccato (tongued detaché) 4. Rhythms: in 2 in 3 in 4 hâa taa hâa taa taa hâa taa âa taa

PLAYING IN TUNE Appeared in July 1994 issue.

Standard pitch is usually 440 vibrations per second, low A on a flute. Modern flutes are usually set at 442 vibrations per second at 21º Celsius for A, so that in cold weather, when flutes play lower in pitch, they can play standard pitch with other instruments. Pushing the headjoint in makes the air column shorter and consequently higher in pitch. The headjoint pulled out lowers the pitch.

[Editor’s Note: Vibrations per second are usually called hertz today. It has become the industry standard for most brands of flute manufactured over the last 20 years to be built to the pitches of 442 or 443 hertz. With winter here again, and events such as the Eisteddfods not too far away, it is important to take care with tuning. Warm your flute by fingering low C, covering the blow-hole with your mouth and gently blowing air down the flute tube. When tuning to the piano, play your A first, then ask the pianist for his A, and then compare the two A’s (doing it this way stops you from lipping your A to the same pitch as the piano). Adjust your tuning if the two A’s are different. If you know that you need to alter your tuning but are unsure about whether you are sharp or flat, the following may help; if you sound duller than the piano, you are probably flat; if you sound brighter, you are probably sharp.] Alex Gemmell died on April 9th, 1994, at the age of 89 years. He was a foundation member of the Flute Society of South Australia when it was formed in 1972, and was Vice-President of the Flute Society for a number of years. He also conducted the Flute Choir and was made an Honorary Life Member for his services to the Flute Society. Alex was always trying out new ideas to improve the art of playing, and attended several conventions in America, returning full of enthusiasm and eager to pass on any knowledge which would be of benefit to the Flute Society.