Embouchure help?

[daiv]

Anyone in or around Wheeling, WV? I would like to get a quick emboucher session if possible... I can get a good, strong low D on my Tipple flutes, but not on my new Copley! I suspect it's me, since I know the Copley is a fine flute. If possible, I'd like to get a quick coaching session - free would be best! I've looked at the on-line stuff, but I can't see where I'm different than what they are saying...

Pat

The best way I know of developing bell note articulation on any flute is toapply what I call meri. Meri is a shakuhachi tradition term applied to notes obtained solely by severe angling of the embouchure. You can do this with any transverse flute including Boehm, bansuri-s, Irish flutes etc. Lets say you can't get the D properly on just this one flute. Go to play the C# below the D by turning the embouchure in so much that you get that note (even if roughly at first). Pretend you are a hermit in a cave somewhere exploring primordial existential aesthetics of pure sound by getting a note on you flute that isn't available thru tone hole.

Once you can get this C# at will roll your embouchure to normal and you will find you are sliding from a C# (albeit iffy) into a fantastic D.

This is, in effect, a rolling kiss approach to any flute to evoke her deepest gasps.

Your body has its own memeory and after practising this rolling kiss for a bit, you will find that your lips will be able to play the D directly without the foreplay.

i've never heard of that! sounds interesting.

[Aanvil]

Your body has its own memeory and after practising this rolling kiss for a bit, you will find that your lips will be able to play the D directly without the foreplay.

[austinp)Oh yeeeah baaaby![/austinp]

[jemtheflute]

Plunk111 - interesting that you play cornett - plain or mute? Never played one myself, but from what I know of them theoretically and hear on period instrument recordings, they ought to be tolerably serviceable for playing ITM!

Regarding your bottom D problem - I'd endorse most of what has been offered already, but I have a separate doubt - I think it possible that your experience as a lip-reed instrument player may be a contributory source of your difficulty. Long use of the lips that way - the "raspberry" vibration and the pressure into the mouthpiece cup - affect the sensitivity and control of the lips in other contexts. I'm not saying it can't be done - there are bound to be jazz trumpeters out there who double on flute, just as there are clarinet/sax players who do so, despite the reed vibrations killing their lower lip. This may simply be an extra hurdle for you to overcome.

[Il Friscaletto]

So I was able to spend about twenty minutes with my new Copley. The bottom D isn't as easy to hit as it is on my Healy, but it is there and when you hit it right it really honks (with the lined head, it sounds like I'm playing a drainpipe!). I wasn't able to do it consistently, but after I put in more time, I'm sure it will come. I think once you work out that embouchure, you'll be very happy with that D.

:)

I think this Copley is going to be one hell of a flute for me. I was especially surprised at the volume. My girlfriend said it was louder than the Healy!

[plunk111]

Plunk111 - interesting that you play cornett - plain or mute? Never played one myself, but from what I know of them theoretically and hear on period instrument recordings, they ought to be tolerably serviceable for playing ITM!

Regarding your bottom D problem - I'd endorse most of what has been offered already, but I have a separate doubt - I think it possible that your experience as a lip-reed instrument player may be a contributory source of your difficulty. Long use of the lips that way - the "raspberry" vibration and the pressure into the mouthpiece cup - affect the sensitivity and control of the lips in other contexts. I'm not saying it can't be done - there are bound to be jazz trumpeters out there who double on flute, just as there are clarinet/sax players who do so, despite the reed vibrations killing their lower lip. This may simply be an extra hurdle for you to overcome.

I play the "regular" cornett...

I have played ITM on it, but not in public! It's fine up high, but as you get down below a G in the staff, intonation/pitch is somewhat "iffy". I truly love the instrument and the music it was designed for (i.e. baroque). You may be on to something with my lip problem, but I did notice last night that much of the low end is starting to firm up. In no way can I say that ANY of my notes truly "honk", though. I'm not really sure how to get good volume, I guess.

Pat

[Tony McGinley]

Anyone in or around Wheeling, WV? I would like to get a quick emboucher session if possible... I can get a good, strong low D on my Tipple flutes, but not on my new Copley! I suspect it's me, since I know the Copley is a fine flute. If possible, I'd like to get a quick coaching session - free would be best! I've looked at the on-line stuff, but I can't see where I'm different than what they are saying...

Pat

The best way I know of developing bell note articulation on any flute is toapply what I call meri. Meri is a shakuhachi tradition term applied to notes obtained solely by severe angling of the embouchure. You can do this with any transverse flute including Boehm, bansuri-s, Irish flutes etc. Lets say you can't get the D properly on just this one flute. Go to play the C# below the D by turning the embouchure in so much that you get that note (even if roughly at first). Pretend you are a hermit in a cave somewhere exploring primordial existential aesthetics of pure sound by getting a note on you flute that isn't available thru tone hole.

Once you can get this C# at will roll your embouchure to normal and you will find you are sliding from a C# (albeit iffy) into a fantastic D.

This is, in effect, a rolling kiss approach to any flute to evoke her deepest gasps.

Your body has its own memeory and after practising this rolling kiss for a bit, you will find that your lips will be able to play the D directly without the foreplay.

Oh Heavens!!!! Talasiga is bordering on ρσяиσפядρђψ here.
This could be a matter for the Forum Moral Brigade!!

I have recently received a Copley and Boegli blackwood from
Doc and it is a most lovely piece of workmanship. My previous
and first flute is a Doug Tipple. Out of the box (a fine strong gun
case no less) I could get nice tone from my new flute. But I did
notice the D bell note was somewhat quieter - not a great deal.
I put this down to the much smaller bottom opening. Maybe I
am also in need of some re-adjustment of my technique -
the rolling kiss maybe!!

[Cork]

...The best way I know of developing bell note articulation on any flute is toapply what I call meri. Meri is a shakuhachi tradition term applied to notes obtained solely by severe angling of the embouchure. You can do this with any transverse flute including Boehm, bansuri-s, Irish flutes etc. Lets say you can't get the D properly on just this one flute. Go to play the C# below the D by turning the embouchure in so much that you get that note (even if roughly at first). Pretend you are a hermit in a cave somewhere exploring primordial existential aesthetics of pure sound by getting a note on you flute that isn't available thru tone hole.

Once you can get this C# at will roll your embouchure to normal and you will find you are sliding from a C# (albeit iffy) into a fantastic D.

This is, in effect, a rolling kiss approach to any flute to evoke her deepest gasps.

Your body has its own memeory and after practising this rolling kiss for a bit, you will find that your lips will be able to play the D directly without the foreplay.

Great post!

I see you as an artist.

[jmurray]

I've had a Copley for two years now. It took me a month or so to get a good low D, but now it's great. Just takes some getting used to I suppose.

[plunk111]

Well, I just had an epiphany, thanks to all you guys/gals and to the wonderful WWW. What I needed to do was to practice in front of a mirror - I hadn't done that! Anyway, long story short, I was dropping my right arm slightly so I wasn't parallel at the lip. Took 5 seconds in front of the mirror to figure it out - DUH! Anyway, thanks for all the cluebirds and help.

Oh yeah, I tried the "meri" thing - it's cool...

Pat