Is there such a thing as having the perfect embouchure? Are flute players with thin lips more likely to play better than those with thicker lips? In other words, are some people built to play flute? Eventually, the baroque character wins and ends the etude.Īpart from executing ornaments and embouchure flexibility, this etude is not technically demanding, but musically it can be very rewarding. The last section combines both elements of baroque and romantic- make sure to show the contrasts so that a conversation (or battle!) is heard between the two characters. Enjoy the harmonies and how they change from major to minor. Don’t allow the melody to be distorted by playing loud in the low register. This is more romantic than the first section and should be played with a gentle colour and very legato.
The triplet section starting in bar 41 is reminiscent of the 3rd etude. Use colour and dynamic to highlight the differences in mood where the harmony suggests uncertainty and playfulness.ĭon’t let the tempo drag – this section should feel somewhat brisker than the next section. Ornaments should be quick and neat so as to fit in with the character of the section. Follow the phrase structure of short-short-long (1 + 1 + 2) Make sure the 1st beat is stronger than 2 and 3.
FLUTE NOTES FOR DRAG ME DOWN WINDOWS
With the acquisition of my new Windows Surface 3, I can now annotate PDFs, so here are some scribbles that might benefit your practice of this etude:Ĭharacter is strong and bold, with an element of dance (3/4). Thank you for reading, liking and commenting. So, back to the Andersen after an overwhelming response to my previous blog on the perfect flute player.
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