We're playing an arrangement of this for wind symphony. I have the intro solo, and the director wants me to play it on one breath. Fine, I can do it. However, he takes it grossly under tempo. I can't do it under tempo, and he glares when I sneak in a breath before the last three notes. I thought maybe he was just rehearsing it under tempo and eventually we'll get it up to speed, but no. He likes to hear it slow.

Does anyone have any tips on how I can pull this off? Another flutist in the section recommended I completely fill up my lungs and then take another tiny breath right before I start playing. I tried that, and it gave me a little more stamina, but by the time I got to the last three notes they were..... let's just say calling them notes is too complimentary.

That's the big problem with this excerpt, isn't it? If you can't do it at that tempo, even after practice, you can't do it. If you haven't already, I would have a frank conversation with the director and explain the situation. He'll either have to let you breathe somewhere, or take the tempo up slightly. He'll have to decide what best serves the music...I have trouble imagining a decent director who would choose to have the end of such an important solo dissolve just to maintain an overly slow tempo.

There's also the option of doing it like they did at the world premiere....With two flutists playing the opening solo, alternating breathing, so as to give the illusion of one huge musical line.

Hope that helps!

almost everyone takes a breath before the last 3 notes, it is actually musical to do so...

There's also the option of doing it like they did at the world premiere....With two flutists playing the opening solo, alternating breathing, so as to give the illusion of one huge musical line.

Didn't know about this. How did Debussy react?

You're right, the director is flexible and will work with me if I talk to him about it. I just don't like my personal limitations interfering with the music director's interpretation of a piece. But if his interpretation is kind of unrealistic there's nothing I can do about that.

the main reason people run out of air in this opening solo is due to lack of focus and slight overblowing, try this..play the piece faster than usual and gradually slow it down with the metronome, also, play the entire solo pp so as to insure good focus..

Thanks, I've been practicing it all afternoon. At the tempo the director wants to play it, I'll have to play the whole thing pp with an almost straight tone to do it on one breath.

I'm still going to ask him to allow me to take breath before the last 3 three notes so I can actually play it with some degree of musicality.

what about circular breathing? Too difficult to learn quickly, I guess...

Listen to Jeanne Baxtresser's recording of Prelude to the Afternoon of a Faune at:
http//www.flutecorner.com/famousflutists
scroll down to Jeanne Baxtesser >discography, then to > her recording of what you are looking for. And listen to her "clip".

Deep breathing from the diaphragm is required. This is one of the most difficult passages (regarding breathing) required in the flute.

I learned to accomplished deep breathing from an opera singer. Also, the late William Kincaid learned "deep breathing" by taking swimming lessons.

UNLESS you are going to use "two flutists", you CAN accomplish this difficult "opening" passage by learning deep breathing techniques.

Some listeners can't tell the difference between "two flutes" --- I can. Others can't, IMO.

It's challenging, but you can do it.

Also, remember, that "wide/heavy vibrato" will "shorten" the "breath" that you have available. If you are stuggling to get through the opening passage, consider a "narrow" vibrato, as you'll conserve more breath, although this "destroys" what Saint-Saines(typo?) was looking for, as in Ms Baxtresser's recording.

I've played this passage many times, and realize how difficult it is to accomplish, for any flutist.

I'm in touch with Ms Baxtresser and will ask her rather or not she used "circular" or "nose" breathing, etc., and will get back to you. To paraphrase Mozart: "What is worse than one flute? Two flutes".

Regards, Jim



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Sorry --- I have the wrong composer. That's what happens when you're 114 years old.


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Added:

Of course, it's Debussy.

Some listeners can't tell the difference between "two flutes" --- I can. Others can't, IMO.

As a rule you should try to follow the composer's instructions. The two flutes trick is an extremely common orchestrational device, however. I've used it successfully myself. The flutes customarily overlap the ends of their phrases (or phraselets or bits). If you can hear it, it was probably performed, written, or arranged clumsily.

I can't disagree with what you said, Scotch, nor can I disagree with anyone else who answered.

I'm not saying the piece can't/or is not being accomplished, by the presence of two flutes.

I did attend a BSO concert in the 60s', wherein I saw Mrs Dwyer accomplish the entire opening, on her own. Neither Jimmy Pappoutsakis, Phil Kaplan nor the 4th flutist "jumped in". So I know it can be done.

The "mechanics" of just how, are best left to those on the forum who know better than I.

Finally, in the link I gave you above (Jeanne Baxtresser) --- Ms Baxtresser's sound is so unique, her vibrato so distinctive, that it's difficult to believe that a 2nd flutist jumped in to "help". (IMO). Just listen to it, and see if you might agree that it is she, indeed, who is performing --- just as Mrs Dwyer did --- the entire opening passage.

I know it's a very challenging (opening)passage, breathing-wise, but it can be accomplished.

I've managed to get through about 90% of it. Guess I still more swimming lessons to take.

I'll get through that final 10% if it's the last thing I do (and it might be).

Best regards, Jim

Jim, I can play it on one breath at the speed Jeanne Baxtresser plays it. But my conducter takes it slower than that, which is where I'm having trouble.

Tim:

Thanks for the comments.

My question would be: why on earth is your "conductor" changing Debussy's orginal tempo?

I've listened to many recordings of the Prelude, and have played it many times, according to the "tempo" that Debussy was inspired to write.

The problem --- at least as you present it --- appears to be with your conductor/musical director.

Conductors are allowed to do this --- it's called "artistic license" (interpretation) of just "how" they wan't it to be played, as opposed to the tempo of the original (Debussy).

However, conductors, just like Debussy, have to realize that flutists DO have to breath, once in awhile.

IF, based upon your conductor's required tempo, you do, indeed, have to have a 2nd flutist "jump in" --- then, fine.

The only problem that that presents, is that your playing (color, sound, intonation, vibrato, etc) will be different from the "2nd" flutist who jumps in to "finish it off". So, quite naturally, there will be a "difference in sound".

This is why I said that I can tell "when there are two flutists involved" --- because no two flutist brings the "same voice" to the instrument.

As a ridiculous example, immagine Jeanne Baxtresser "beginning" the Prelude --- then, at the last 4 or 5 measures, Rhonda Larson jumps in to "finish" it. Will there be a difference?
You bet there will be --- and anyone with a "flutist" ear will hear the difference.

Take this issue up with your conductor/musical director --- and see if there is some "common ground", here.

Finally --- as I said, before --- I've not only heard -- but have seen, solo flutists who were able to accomplish (that dreaded) opening passage. As long as it is played at the "original" tempo.

The "mechanics" of breathing are best left to those on this forum who can better address "breathing" exercises, than I can.

All I can tell you, is that it CAN be done. I've heard it --- I've seen it. Yes, it's very challenging. But can be done.

Best of luck to you! Jim

I know I don't play much flute, but I saw this post, and had to respond thus: The opening of the piece should be "conductor-free" with the soloist choosing the tempo. The conductor should only come in after the solo and respond with the tempo given by the soloist. I am truly sorry if anyone (if not everyone) disagrees, BUT, if I was Debussy (or anyone else, for that matter) conducting, I would admire the solo and take it in before going ahead to translate the tempo to the orchestra.

Well I wish you were my conductor.