Crazy good! And really nice of you to provide the accompaniment and music for practice, as well as show how to practice it. It makes me feel like getting my flute out and playing this. However, I haven't touched the flute in over 15 years. I play the violin now in my retirement, because I find the literature more exciting and the challenge of it is endless. I thought I would share with you and readers a practice technique, taught to me by Judy of Long Island in 1972, who learned it from her teacher Harvey Sollberger. She called it "brain patterning." It's useful for particularly tricky passages, such as passages in Prok's Classical Symphony, like the repeated passage that descends from a high B. But to explain it so it's easy to understand, I'll use the C scale. Just apply the same technique to any few measures (or whole piece) you're having trouble with. Play C. Finger D. Play D. Finger E. Play E. etc. Get it? So a difficult passage where the fingers tend to get tangled, like in the high notes, like that passage in Classical Symphony, suddenly become playable. It sets up a pattern in the brain. There are a couple reasons why certain passages on flute are difficult to finger, but one is that if they are very high up, or skipping to high notes, unlike in the music we play the most, which is in the middle or lower register, we just don't encounter such high notes in that configuration very often. Since the fingerings on flute are inherently more difficult up high, it just amplifies the difficulty of playing it. So, I would like to see a demo by a good flutist like yourself doing those passages in Classical Symphony. And the other thing I would like to see is a flutist demonstrating the altissimo notes on the flute, that is, notes up to F above high C. Is this asking too much? If so, ignore me. Resume doing whatever you were doing before you read this. LOL.
@som Slovaak I understand that playing a fast passage on the flute involves a motor skill, not thinking, and that using this brain patterning method involves a great deal of conscious thought at first. In fact it's really awkward at first. Like some other skills on the flute, such as double tonguing, it takes a few hours of practice beforeit is less awkward, less conscious. Did you try it for a few hours? I didn't think so. So just don't use it. It isn't for you. It's just something to try for the curious. I play the violin also. For the mastery of difficult passages, I saw one guy on CZcams demonstrating a mirroring technique on the fingerboard, using the bow hand also, so both hands fingering a passage at the same time which makes no sound, of course. Because the left and right hands are lateralized between the right and left hemispheres of the brain, what one hand is doing can help with coordination of the other hand. This is used in piano exercises all the time. I just like techniques like the brain patterning, that are different, not the ones everyone learns about who studies the flute.
@UCjdftc37350W3Qcs64SLlkw I've been out of the flute loop for a few decades, but Dufour certainly plays beautifully. Some years ago, my favorite player was William Bennett. I think his students really liked him. Like all flutists of his time, he was eclipsed by the historic popularity of Rampal, who had more recordings out than any classical musician at one point, and was responsible for making the flute a popular solo instrument. Anyway, I'm not sure many people outside of flutists even know who Pahud is. He didn't have the shtick to become a household word, and he probably just didn't want it. I haven't read anything about him personally, but he seems a little aloof on stage. Rampal was extroverted and in his early years had his own banner (to go above the door of the concert hall) that proclaimed he was World's Greatest Flutist, and Galway had a whistle and a delightful personality on stage. I wrote an essay about this years ago, when I had a flute website in the earlier years of the web. Off topic, but I was thinking if anyone wants to read a good book about the struggle and life of a young musician wanting a professional orchestral career, I recommend Mozart in the Jungle by oboist Blair Tindall. It was made into a TV series which was quite different from the book. It's the best book I've ever read that was written by a wind player.
@@fluteteatime I don't have a website. For a few months, I've been composing using AI (MuseNet), and feature my pieces on a CZcams channel which anyone can visit by clicking on the T to the left of my name right here. I've written over 100 of the freaking things and it took me months to write them. Years ago, like around the year 2000, I had a flute website that was quite popular. It featured some of my recordings I made at home, and a bunch of articles imparting my thoughts and experiences concerning flute. Now that I'm getting older than ever, I don't think all that stuff is very important. Orchestras are going under. Now that Galway is getting old, there appears to be no successor. We're back to flute just being the bird in the orchestra, and that's all.
What’s that technique where you move your right hand index finger to the left and press a key that normally isn’t used (as far as I knew). You mostly seem to do it in upwards runs (chromatic). Please, I’d love to know!
This breakdown is outstanding!!
0:00~with piano, 1:10~Fingering, 2:00~Example slow legato, 4:02~Ex.slow double tonguing, 4:50~Piano Accompaniment Tempo=60, 6:28~Tempo=72, 7:52~Tempo=80, 9:07~Tempo=84
解説記事 schwedlerfloete.blogspot.com/2018/09/blog-post_20.html
Thank you so very much for showing this to us🙏🙏😊😊🙏👍
Crazy good! And really nice of you to provide the accompaniment and music for practice, as well as show how to practice it. It makes me feel like getting my flute out and playing this. However, I haven't touched the flute in over 15 years. I play the violin now in my retirement, because I find the literature more exciting and the challenge of it is endless.
I thought I would share with you and readers a practice technique, taught to me by Judy of Long Island in 1972, who learned it from her teacher Harvey Sollberger. She called it "brain patterning." It's useful for particularly tricky passages, such as passages in Prok's Classical Symphony, like the repeated passage that descends from a high B. But to explain it so it's easy to understand, I'll use the C scale. Just apply the same technique to any few measures (or whole piece) you're having trouble with.
Play C. Finger D. Play D. Finger E. Play E. etc. Get it? So a difficult passage where the fingers tend to get tangled, like in the high notes, like that passage in Classical Symphony, suddenly become playable. It sets up a pattern in the brain.
There are a couple reasons why certain passages on flute are difficult to finger, but one is that if they are very high up, or skipping to high notes, unlike in the music we play the most, which is in the middle or lower register, we just don't encounter such high notes in that configuration very often. Since the fingerings on flute are inherently more difficult up high, it just amplifies the difficulty of playing it.
So, I would like to see a demo by a good flutist like yourself doing those passages in Classical Symphony. And the other thing I would like to see is a flutist demonstrating the altissimo notes on the flute, that is, notes up to F above high C. Is this asking too much? If so, ignore me. Resume doing whatever you were doing before you read this. LOL.
@som Slovaak I understand that playing a fast passage on the flute involves a motor skill, not thinking, and that using this brain patterning method involves a great deal of conscious thought at first. In fact it's really awkward at first. Like some other skills on the flute, such as double tonguing, it takes a few hours of practice beforeit is less awkward, less conscious. Did you try it for a few hours? I didn't think so. So just don't use it. It isn't for you. It's just something to try for the curious.
I play the violin also. For the mastery of difficult passages, I saw one guy on CZcams demonstrating a mirroring technique on the fingerboard, using the bow hand also, so both hands fingering a passage at the same time which makes no sound, of course. Because the left and right hands are lateralized between the right and left hemispheres of the brain, what one hand is doing can help with coordination of the other hand. This is used in piano exercises all the time.
I just like techniques like the brain patterning, that are different, not the ones everyone learns about who studies the flute.
@UCjdftc37350W3Qcs64SLlkw I've been out of the flute loop for a few decades, but Dufour certainly plays beautifully. Some years ago, my favorite player was William Bennett. I think his students really liked him. Like all flutists of his time, he was eclipsed by the historic popularity of Rampal, who had more recordings out than any classical musician at one point, and was responsible for making the flute a popular solo instrument.
Anyway, I'm not sure many people outside of flutists even know who Pahud is. He didn't have the shtick to become a household word, and he probably just didn't want it. I haven't read anything about him personally, but he seems a little aloof on stage. Rampal was extroverted and in his early years had his own banner (to go above the door of the concert hall) that proclaimed he was World's Greatest Flutist, and Galway had a whistle and a delightful personality on stage. I wrote an essay about this years ago, when I had a flute website in the earlier years of the web.
Off topic, but I was thinking if anyone wants to read a good book about the struggle and life of a young musician wanting a professional orchestral career, I recommend Mozart in the Jungle by oboist Blair Tindall. It was made into a TV series which was quite different from the book. It's the best book I've ever read that was written by a wind player.
@@Timzart7 read your comments all thoroughly and i would really like to visit your website! 😊👍🥰
@@fluteteatime I don't have a website. For a few months, I've been composing using AI (MuseNet), and feature my pieces on a CZcams channel which anyone can visit by clicking on the T to the left of my name right here. I've written over 100 of the freaking things and it took me months to write them. Years ago, like around the year 2000, I had a flute website that was quite popular. It featured some of my recordings I made at home, and a bunch of articles imparting my thoughts and experiences concerning flute. Now that I'm getting older than ever, I don't think all that stuff is very important. Orchestras are going under. Now that Galway is getting old, there appears to be no successor. We're back to flute just being the bird in the orchestra, and that's all.
Thank you so much! You are wonderful!
Bravissimo.....complimenti.....
Superb study
Bravo!!!!!🎉🎉🎉🎉🎉🎉
Excelent!
Thank you so much ~
Thank you !👍
I just posted an orchestral track for this excerpt on my channel, without the flute. You should use it and share with us!
How did you feel when you played with the thumbport attached?
What’s that technique where you move your right hand index finger to the left and press a key that normally isn’t used (as far as I knew). You mostly seem to do it in upwards runs (chromatic). Please, I’d love to know!
based from just reading your comment, its the b-flat lever key. the flute has in total 3 fingerings for b-flat
👍👍👍👍👍👍👍👍👍👍😍
Félix renggli 😂😂😂🤣🤣
How did you feel when you played with the thumbport attached?