Flute tone can be frustrating, especially when we aren’t sure of the source of the issue. This Strategies for Tone and Intonation book will help your students (with or without your assistance) through the process of experimenting with different ways to manipulate tone to find what works best for them.

I created this Flute Tone Triangle to illustrate how I approach tone using air speed/temperature with aperture width and shape, and am happy to answer any questions you might have.

Manipulating intonation is rooted in a few basic concepts, based upon how the flute produces sound. In this presentation on creating your flute intonation prescription, I’ve outlined four ways flutists can change their pitch. These should be practiced one at a time and then used in combination to personalize what works best for each individual. You can use this template to record your observations and create your prescription.

Here is a chart you and your students can fill out to record their tuning tendencies.

I created this Strategies for Tone and Intonation book to include my considerations for developing more independent control over both. If you’d like to schedule a session with me to walk through the processes, please contact me here.

It is all too easy to establish and maiutain a double tonguing technique that is percussive and staccatissimo. This style require us to govern the end of each note by cutting it off with the tongue (putting the tongue against the palette to stop the flow of air out o the mouth), which 1) is not musical and doesn’t lend itself to creating expressive double-tongued lines, and 2) requires us to complete an extra step by beginning a note, producing tone, and then ending the note. We don’t need to end the notes. By eliminating the need to stop each note in a double-tongued sequence, we can free up our energies to articulate lighter and more rapidly.

To build endurance in double-tonguing, try this exercise. If you (or our student) can’t get through the 6s, 7s, or 8s, go as far as you can and work endurance up to being able to play the entire page.

A side note on consonant and vowel choices: The “Ka” syllable is produced farther back in the mouth, or even the throat. If you can reduce the distance between the front and back articulations, you stand a better chance at playing them quicker. Try Tu, Ku, Ti, Ki, and even Cue. The faster you go, the less you should be feeling your tongue hitting the roof of your mouth.

Our stress (and subsequent nerves) can get in the way of not only our productivity, but also our ability to follow through on achieving goals we’ve set for ourselves. Reconnecting with the present moment through mindfulness helps, as does differentiating between overwhelm and burnout. If you have questions about stress, anxiety, fears, overwhelm, or burnout, please feel free to reach out!

Here is an infographic on Relaxing at the Stand. It was created in this layout so it does not take too much room on the stand and can serve as a reminder in any situation.

I have also compiled this booklet on Anxiety, Nerves, & Stress.

This presentation on Managing Overwhelm and Burnout is here to introduce you to the concepts for differentiating and intervening or managing both. To schedule a presentation on this, contact me here.