Daily Exercises for the Flutist, MSgt Tiemens

Start on a strong note on your instrument (most flutists use middle B natural). Go down chromatically two notes at a time very slowly (quarter note to dotted half note slurred). Play each pair of notes twice. Make sure you carry the rich, open sound of the first note down to the second. Do this exercise all the way down to low C or B. Next, start on the middle B natural again and go all the way up to high C using the same method. Try this exercise with various vibrato, dynamics, and tone colors. Marcel Moyse has written two wonderful books for tone development. The first is De La Sonorite, a book full of specific exercises to target various problem areas of the flute. The second book I recommend is Tone Development Through Interpretation. This book encourages the flutist to explore interpretation by experimenting with simple melodies from operas, symphonic literature, and chamber music.

Why are scales so important?

Scales and arpeggios are the ingredients of music. If you have a solid command of scales and arpeggios, you will have a great headstart before even looking at your music. I recommend several excellent books to work on technical patterns including extended scales (scales extending through the whole range), broken arpeggios, thirds, and sixths. My favorites are Taffanel and Gaubert’s 17 Daily Exercises and Reichert’s Seven Daily Exercises Op. 5. Rotate through these books to cover all of the material. One of the secrets to avoiding boredom while practicing technical exercises is to vary your routine. Practice the exercises with various articulations, dynamics, keys, and rhythms.

What’s the most effective way to work on dynamics?

Practice diamonds for at least 5 minutes a day with a tuner. A “diamond” is a long crescendo followed by a long diminuendo. For example, crescendo for 6 beats and diminuendo for 6 beats. Listen to the quality of your sound throughout the exercise. Be careful not to get sharper as you get louder. Try to start with silence and “sneak in” with your sound. At the end of the diminuendo, fade away into nothing. This exercise will do wonders for your tonal control, dynamics, and intonation.

What are the intonation tendencies of the flute and how can I correct them?

The flute is not a perfect instrument. Each note has its own pitch tendency. Low F and MSgt Sandy Tiemens

below tends to be flat on many instruments. The middle C# is usually a very sharp note. Many notes in the third octave tend to be very sharp. You can change your pitch by varying the size of your aperture, changing the direction of the air, changing the speed of your air, and using alternate fingerings. I find that using a tone generating tuner is very useful for ear training. The key to good intonation is being able to listen and be flexible to what you are hearing. While the tuner is an extremely valuable tool for assessing your tendencies, performing experience is the best aid to improve intonation. Communicate and cooperate with your colleagues. Put yourself in all types of ensembles: band, orchestra, and chamber opportunities.