|
|
 |
vampav8trix
(194 points)
| 
I decided to make a new subject for this.
I have my Yamaha up for sale and I had it cleaned and adjusted so I am not playing on it anymore.
Instead I am playing on the trashed Gemeindhardt that I bought and "fixed". (I use that term lightly). I am having to work pretty hard with my embrochure to play this thing and get a good sound. I have found that it is great exercise for my lips. I may have to keep this flute just for lip exercises.
What kinds of lip exercises does everyone do here?
|
|
|
|
|
|
|
Patrick
(1372 points)
|
the most fundamental exercise I do, and require of students, is to play octaves everyday, the trick is to play the lower notes forte and the upper notes piano, often with a diminuendo as you ascend..message me for more details..
|
|
|
|
|
|
|
Alieannie
(634 points)
|
I commend you for being able to take a disaster of a flute and repair it to the point of playability. But I wonder if it's a good idea to make this your primary flute now. Just hear me out.
Just because the headjoint works your lips doesn't mean you should play on it. It's dented and pretty funky, plus it's not exactly a top end headjoint, so it may not be best to get used to it. You may have trouble playing other flutes in the future because you have distorted your embouchure to play this flute. Also, the flute may have tiny leaks everywhere, forcing you to use a heavier touch. This won't be good for your technique, as it is more profitable to use a light technique especially as you work towards faster & more technically demanding music.
It, in my opinion, would be much better for you to get a good higher end not dented headjoint, one that's more resistant so it makes you work (which is what you want) and do exercises on THAT instead. In the long run I feel that would do you much more justice to your flute playing.
|
|
|
|
|
|
|
|
|
|
|
Alieannie
(634 points)
|
Oh. So all you're saying is that you have another flute coming and you'd just be playing this for two weeks or so?
I missed anything about a muramatsu, sorry.
|
|
|
|
|
|
|
vampav8trix
(194 points)
|
I never mentioned that I was getting a Muramatsu anywhere. I put plumbers tape on an old Armstrong 104 headjoint and this thing is playing as well as a student fulte can play.
Thanks for the warning about messing up my embrochure. I would hate to do that!!
|
|
|
|
|
|
|
Alieannie
(634 points)
|
First you wrote
The muramatsu should be here in two weeks or less. I just can't stand not playing.
|
|
then you wrote
| I never mentioned that I was getting a Muramatsu anywhere. |
|
Ok, then what does "the muramatsu should be here in two weeks" mean? lol
Im so sorry but I'm confused....
|
|
|
|
|
|
|
vampav8trix
(194 points)
|
I ment that before this thread, I had not mentioned getting a Muramatsu. I just kind of left that part out. I just didn't announce it to the board.
So sorry for the confusion.
Yes, I am getting a Muramatsu. I hope I like it because I am selling my Yamaha and it could possibly be sold by the time the Muramatsu gets here. If I don't like the headhjoint and I have to send it back because I am buying the flute used. I will be stuck with the frankenstien flute for a while.
|
|
|
|
|
|
|
|
|
|
|
Bilbo
(822 points)
|
Guys, Please spell the lip formatino word correctly as:
Embouchure and not Embrochure.
Patrick, why not keep your information on list? Others would be interested and appreciative.
I also do octaves.
Octaves and fifths are good as well.
Arpeggios. Ascending with diminuendo.
De La Sonorite by Moyse.
Try playing beautiful slower melodies.
Turn any piece into an embouchure exercise by taking your time and focusing.
It's not so much what you're playing but how you're playing it and what it sounds like.
Here is a quote about tone study that predates Moyse by about 75 years:
"Since a gradual transition is best in all things, by passing from the
easy to the more difficult, so one,.... should not begin with the
higher and lower tones which are more difficult to produce, but he
should begin in the middle register C2.....When
one has found the proper embouchure by which this tone can be clearly
sounded in a delicate piano, one should gradually, without raising the
pitch swell it to a forte, and then bring it back again to the
faintest pianissimo. When this is fully accomplished one passes in the
following manner to the next lower tone....Continuing in this way, and
with the least possible alteratin of the embouchure, gradually,
certainly and without exertion proceed to the lower tones
successively, and in a similar manner practice the tones from (C2) upwards to the
highest."
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Bilbo
(822 points)
|
I can't either. Everytime I proofread what I type, it comes up wrng in the post.
<Added>
I shold also add that for a univ thesis at the music school, I misspelled the word, "rhythm". :-(
|
|
|
|
|
searching...
