Margaret Linnan Kegel www.margaretlinnankegel.com margaretlinnankegel@hotmail.com ‘TEACHING FLUTE WITH SKILL AND CONFIDENCE IBA FLUTE CLINIC 5-14-2015 |. Starting beginners and building a foundation for quality tone, articulation and pitch control ‘© Spitting Rice: ideal lip position, tongue use, air support ‘© Games with the headjoint Il. Proper headjoint alignment and body position, and its affect on tone and pitch ‘© MARK the headjoint position! ‘© Goal: NATURAL and NEUTRAL hand, wrist, elbow, shoulder and neck ‘© Every flutist needs own folder/stand to achieve healthy body position (and tone, pitch) Il. Common problems found in student flutists Flute lip plate too high on lower lip, caused by “kissing the embouchure hole" start Tightening mouth corners to advance octaves Flute and body alignment issues impacting tone, pitch and facility Failure to use the tongue to articulate Starting with B-flat thumb key~crippled from the start Leaving the left index finger down on middle D and E-flat Using middle register fingerings for third octave D, E-flat, E and F Failure to use the right-hand pinky Inefficient finger movement, resulting in poorly coordinated, slow, uneven technique IV. Helping your students excel on piccolo ‘Proper positioning on th ‘© Understanding pitch tendencies ‘© Relaxation and proper air speed OPTIONAL AREAS FOR DISCUSSION Vibrato Pitch tendencies and corrections Alternate fingerings for facilitation of "impossible" high register ensemble passages ‘Anything that concerns yout!!!Margaret Linnan Kegel www.margaretlinnankegel.com BASIC THIRD OCTAVE FLUTE FINGERINGS NOTE: Fingerings marked with’ ‘are alternates that may improve flute section pitch dramatically. In passages requiring improved tuning, check each flutist on the standard and alternate fingerings, having Individuals note which fingering achieves the best results of? [222 Paks “Avoid the common mistake of leaving the right hand fingers down! oe foe Pas Be sure to depress the left pinky for best tone quality nen eo Pinky Standard Fingering Intonation tendency is very sharp. ° sofeeo we &. Pinky | Alternate Fingering to lower pitch in exposed passages: | NOTE: Don’t make a habit of leaving right pinky up on. | surrounding pitches! A qT 0,00 /82 © Pinky wieepor Tats “Alternate Fingering to Tower pitch n exposed passages NOTE: Be viglant about not allowing this to become | K ‘standard fingering for your players 004/00 # ‘Standard Fingering Intonation tendeney is very sharp ° oojoe } . “Alternate Fingering to lower pitch in exposed passages NOTE: This fingering should not be used in the first and second octavest! 6 @ eelooo e Ab 250792 eo ‘Standard Fingering Intonation tendency is very sharp “Long Ab Fingering” = Alternate Fingering to lower pitch in exposed passages be ‘Also known as “Piccolo Ab” The right pinky must be depressed for high A to speak Bb Be OTo 2,2 2/*0% inky ‘No right pinky in standard fingering Can add right pinky to flatten pitch in exposed passages 0, 00/0 ° P0202 ‘No right pinky in standard fingering! Can add right pinky to flatten pitch in exposed passages | c er Pinky oo 00 oe No right pinky on the E-flat key, but may use right pinky ‘on the “gizmo” or “high C facilitator” if playing 8-foot fluteMargaret Linnan Kegel www.margaretlinnankegel.com MULTIPLE TONGUING ‘Dry” Practice Patterns for Double Tonguing Preparation 1) Callacat: “Kit-ty-Kit-ty-Kit-ty-Kit-ty” etc. 2) Took abath: “Too-ka-Too-ka-Too-ka-Too-ka” etc. 3) Gotta go!: “Got-ta-Got-ta-Got-ta-Got-ta” etc. 4) Dugahole: “Dub-guh-Duh-guh-Duh-guh-Duh-guh” ete. First Steps in Double Tonguing ‘Try these patterns on one low note, one middle register note, one high register note: DAY 1 DAY2 DAY3 DAY4 DAY 5 DG DGDG DGDGDG DGDGDGDG_|DGDGDGDGDG ene) | GDGD GDGDGD GDGDGDGD_| GDGDGDGDGD Try Triple Tonguing to Strengthen Control of Syllables ‘Try these pattems on one low note, one middle register note, one high register note: DAYI DAY2 DAY3 I Bonfna | BovtoaBantioc | _ BantincBantine Boptinc | Speen ocBap @ocbep &ocBen Scbep POINTS TO REMEMBER IN PRACTICING: 1) The back syllable is new to your tongue muscle, and weaker. To gain strength and excellent rhythmic control, practice patterns starting with the back syllable at least twice as often as you practice pattems starting with the forward syllable. 2) The air released when you use the back syllable must travel a greater distance than the air released with the forward syllable before it reaches the embouchure hole of the flute, Thus, the back syllable can sound too weak. Try to pronounce the back syllable as far forward in the mouth as possible. Do not produce the back syllable in ‘the throat! 3) Use lots of abdominal muscle support to boost the pressure and speed of the air column, This will help strengthen the sound of the back syllable. 4) Be sure that your lips (especially the upper lip) engage fully in directing your air well into the flute to produce strong, focused tone.Margaret Linnan Kegel ‘www.margaretlinnankegel.com ‘SUGGESTED METHODS AND MATERIALS FOR BEGINNING - ADVANCED FLUTISTS For students younger than Grade 4, or those with | For students Grades 5-6, or younger students with 1no previous experience reading music: ‘experience reading music: Breeze-Easy Method for Flute, Book 1 Flute Student, Level 1 Breeze-Easy Method for Flute, Book 2 {Steensland and Ployhar, pub. Alfred) * (Anzalone, pub. Warners Bros. Publications) Flute Student, Level 2 * Supplemental Possibilities: Studies and Melodious Etudes for Flute, Level 2" Tunes for Technic for Flute, Level 2 * Flute Student, Level 3 * ‘Studies and Melodious Etudes for Flute, Level 3 * ‘Supplemental Possibility: ‘Tunes for Technic for Flute, Level 3 * Selected Studies for Flute (Voxman, pub. Rubank) -- "the All-State book,” an etude in each key, mixes ‘technical and lyrical studies 25 Studies for the Flute (Drouet, var. pub.) — great introductory etudes for high school students, technical, yet good for musical phrasing Eighteen Exercises or Etudes For the Flute (Berbiguier, pub. Schirmer) ~ inall ensemble and solo literature ‘Twenty-Four Progressive Studies for Flute, Op. 33 (Joachim Andersen, var. pub.) ~ an etude in each key, ideal for developing concentration Melodious and Progressive Studies for Flute, Book 2 (rev. by Robert Cavally, pub. Southern) ~ good variety with four composers represented ‘Top Register Studies for Flute (Thomas Filas, pub. Car! Fischer) -- short exercises in every key, ‘emphasizes 3rd octave reading and fingerings 17 Big Dally Finger Exercises for the Flute. (Taffanel-Gaubert, pub. Leduc) ~ scales, arpeggios, finger independence exercises ‘Complete Dally Exercises forthe Flute (comp. Trevor Wye, pub. Novello) -- compilation of the best exercises by Reichert, Maquarre, Boehm and DS. Woods. Similar to the Taffanel-Gaubert, with more variety ull of technical patterns REFERENCE MATERIALS FOR DIRECTORS: ‘A Modern Guide to Fingerings For The Flute (James J. Pellerite, pub. Zalo) ~ the most accurate and comprehensive flute fingering guide available The Complete Piccolo (Jan Gippo, pub. Theodore Presser) — provides valuable alternate fingerings to adjust tuning, includes comprehensive solo and ensemble repetoire guideMargaret Linnan Kegel \wwnw.margaretiinnankegel.com EQUIPMENT RECOMMENDATIONS FOR BEGINNING, INTERMEDIATE, ADVANCED FLUTISTS FLUTES: BEGINNER/ENTRY-LEVEL ELUTE Trevor James, Model 10X Jupiter student model Yamaha student model INTERMEDIATE/STEP-UP FLUTE Trevor James Cantabile ~~ $1,500 (stering headjoint) Headjoint upgrade option: Flutemakers Guild of London headjoint adds $500 ‘Trevor James Virtuoso ~~ $2,500 (sterling headjoint and tubes) Yamaha Model YFL-461 ~-~ $3,900 (sterling heagjoint and tubes) ‘Amadeus Model AF700 ~~ $2,500 (sterling headjoint and tubes} ‘Miyazawa Model PB-102RH ~~ $3,000 (sterling lip plate and rser, patil Brogger Systern) ADVANCED/PRE-PROFESSIONAL FLUTE ‘Miyazawa PB-202RH ~~ $4,200 (sterling headjoint, customizable with free headjoint choice, partial Brogger System, Straubinger pads) Sankyo CF 201 ~~ $4,000 (sterling headjoint, customizable with free headjoint choice) Miyazawa BR-A02RH ~~ $6,600 (sterling tubes, customizable with free headjoint choice, full Brogger System, Straubinger pads) PiccoLos: ENTRY-LEVEL PICCOLO Pearl PFP-105 Yamaha YPC-32 Yamaha YPC-81 '~ $1,000 (Grenaditte headjoint and body) ~ $1,400 (siver-plated headjoint, composite body) '~ $3,000 (select grenadilla headjoint and body) ADVANCED/PROFESSIONAL PICCOLO Yamaha YPC-81 --~ $3,000 (select grenadilla headjoint and body) Hamig 650/2 ~~ $4,000 Hammig 650/3 ~~ $4,300 Keefe ~~ $6,800 and up HELPFUL ACCESSORIES FOR STABILITY IN PERFORMANCE: Yarnaha lip Plate Patch: Textured fabric with adhesive backing absorbs moisture, preventing flute from sipping down on lip during performance. Also protects the skin of students who experience metal contact allergies Thumbport: This device serves asa right hand thumb rest, allowing an optimal, ergonomic right hand position. This assists in ideal balance of the flute in the player's hands, impacting tone, pitch and digital facility. 8G Franck Bichon Hand Positioner (A 15) and/or Ruynon Clarinet-Sax Mouthpiece Protector: These products provide a non-slip grip, especially useful for stabilizing the flute in the left hand. AluteGels: This product cushions the fingers at the balance points and improves grip, stabilizing the flute in the. hands.