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Dynamics

Good piccolo players can be recognized because they play in tune in all dynamics, registers and orchestrations.
We’ve already touched upon tuning exercises. Remember, these exercises are not the kind that you learn and leave
behind; these are ongoing exercises because unfortunately, the ability to play in tune, even once accomplished does
not stay with us long unless we maintain it daily. It is all too easy to play out of tune! If you want to have good
intonation, you must continue exercising your ability as long as you play with others!
Everyone can invent tuning exercises such as those in the last issue of Syrinx - just use your imagination. For
example, you can use the fifths exercise (example 1) for fourths also. Don’t forget octaves.
You can find good exercises for this interval in the book “La technique d’embouchure” by Philippe Bernold in the
chapter about intervals (from n°2 to n°5).
Once you have set your octaves, try to apply your new skills to exercise n° 1 (page 6) in “De la Sonoritè” by
Marcel Moyse. (example 2).
Apply it also to n°1 bis (page 9) of “De la Sonoritè”. This exercise is also excellent for developing flexibility and
homogeneity (sameness) of sound.
Remember, sound is produced not only by one’s instrument, but also by one’s body. A well-tuned instrument
without a tuned body is not enough. Tuning your body means teaching it realize our intentions in a precise,
predictable and consistent way.
Think about how differently our muscles react in the morning, as opposed to how they react in the evening – this
will help to tune your body. It is useful to check our physical differences during the day through the evening and
make simple physical and instrumental exercises to ensure good performances. Each person has different
challenges. For morning work, I recommend simple exercises for endurance and control of the diaphragm and
stretching work-outs for facial muscles and stretching for good posture too! More on this later…
Developing dynamics is not a starting point for those beginning piccolo. At the beginning, we play using the
natural dynamics of the instrument while we learn blowing and tuning characteristics. Use exercises similar to
vocalizations, without trying to play pianissimo in the third octave or anything as extreme. Always pay attention to
intonation and play with a cantabile style. Once these challenges are met, you are ready to begin the study of
dynamics.
Begin with exercise n° 1 (page 6) of “De la Sonoritè” (example 3). Start the first B piano but in a way you that can
do it without unnecessary tension. In order to play piano well, think of your mouth as a resonating chamber, so
keep the mouth large! It is always correct to play with the throat open and to lift the soft part of the palate as much
as possible, as if you are yawning! The lips must form a small hole without tension, otherwise they will lose
flexibility. Air must be blown with a suitable pressure; find the right speed and direction while pushing your lower
lip forward or think of bringing your chin forward, depending on your flute technique. Don’t cover the hole too
much. Check your pitch with the tuner and correct it if necessary. Play a crescendo on A#, gradually opening the
hole to permit the exit of a larger quantity of air, while gradually retracting the lower lip until the air flows almost
downwards. When repeat the B, you should be at the maximum of the forte, with maximum openness of the mouth
and downwards air flow. Remember the pitch level of the first B pianissimo so it can be at the same pitch of its
repetition in fortissimo. All this movement must be the result of great flexibility and absence of tension. Continue
to check your pitch with your tuner. Then apply the same scheme to exercise n° 1 bis (page 9).

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