Jumping from 2nd D to 1st D at a clip

[celticmodes]

I'm learning the La Fee des Dents (Tooth Fairy Jig) by A. Brunet and the B part has a jump from 2nd D to 1st D that I'm finding difficult to do at speed.

Any technique advice that could help?

Here is a clip of the offending playing. Pardon the pj's

http://www.youtube.com/watch?v=zE_PoR18g-s

[benhall.1]

I just clicked on the clip, but got the message "This video is private. Sorry about that."

[celticmodes]

I just clicked on the clip, but got the message "This video is private. Sorry about that."

It uploaded that way and I edited it to be unlisted but I guess YouTube is taking a while to change it. I would make it public but I seriously just rolled out of bed. I don't mind you guys seeing me that way but not the whole world

Oh I see now...unlisted isn't going to work. Here goes public!

[ImNotIrish]

It would be nice to hear the whole tune a couple of times through...
Arbo

[Flexismart]

The only way I've been able to do octave bounces like the one you're trying is with a glottal - essentially a throat hesitation with an L1 slam down at the same time. If your flute has a good bottom D honk it helps a lot - but you have to push the note, especially if it's happening in quick succession like this one: dDb

Brunet uses the dD as a variation, as it's not in his written score.
Playing:http://www.youtube.com/watch?v=Rm_FyS7ceSc
Written:http://jc.tzo.net/~jc/cgi/abc/tunefind? ... une&Nsel=0

Another tune where this kind of an octave glottal is prominent is Amy's Rollerskates by Karen Tweed - but instead of D it's A - and aA is an easier couple of notes to separate with the throat than dD

[highwood]

Practice s l o w l y, aim for clean and fast transistions.

[jemtheflute]

Mmm. Can't really tell what you're trying to do in that clip - context of whole tune would be more helpful. And the notation Flexismart links doesn't clarify, as he points out..... Ah but viewing the video clip....

If this is the straight ABC for the B music:
|:~e3 edB | ced cBc | d2B- BAG | Bdc BAG |e2c efg |afd- dcB |ced cBA |AGF "G"G3 :|

You want to vary bar 3 as Andre does, thus:
|:~e3 edB | ced cBc | dDB- BAG |.... or similar
|:~e3 edB | ced cBc | dDD BAG |... or
|:~e3 edB | ced cBc | d~D2 BAG |.... where the ~D2 is a short cran on the low D.....

OK. What's the problem? Just practice your slurred octaves. Basic stuff. No need in this context to articulate it in any way. In fact, as you need a clean, well defined drop in breath pressure, glottalling or even tonguing are probably unhelpful (and this is an off-beat anyway, not requiring emphasis) because their plosive attack is likely to keep the sound up the octave at least momentarily, causing at best a squeak and at worst no octave drop. That pressure drop has to be very well defined and on time, but not stop airflow altogether - which takes practice. So practice slurred octave drops - slowly at first, but speed up (no more so than you can get them clean) until you can do a scale of 'em really quickly and reliably: d'd c#'c# bB aA gG f#F# eE dD. NO articulation - just breath and embouchure control. Then do drop/jumps: d'dd' c#'c#c#' bBb aAa gGg f#F#f# eEe dDd. Then for good measure do jump/drops: dd'd c#c#'c# BbB AaA GgG F#f#F# EeE DdD. Do them back up the scale as well as down and throw in C naturals too if you like. Then contextual attention to the specific one you want shouldn't take much more effort. You ought to be able to conquer this in about an hour's work, maybe less.

Afterthought - you may find it helpful to do some slurred octave practice on Low Whistle as on that it can only be done by breath control, then transfer the discipline back to flute....

Meanwhile, here's a little demo clip I've knocked up.

[celticmodes]

context of whole tune would be more helpful

I'll give more context next time. Didn't want to bog down with unnecessary stuff.

|:~e3 edB | ced cBc | dDB- BAG |.... or similar

I learned this from a harp version where we do the "dDB" variation.

OK. What's the problem?

It is suckage. My low D is slow in manifesting so the phrase sounds off.

you need a clean, well defined drop in breath pressure

This is interesting. I thought I needed more pressure or maybe I'm confusing pressure with volume. I definitely open my embouchure aiming more down and pump more air through on that note but I guess the pressure would be lower?

So practice slurred octave drops - slowly at first, but speed up

I will do this. I have another piece that has the same octave jumps in it so I need the practice.

here's a little demo clip

Thanks so much for this. I'll practice the alternatives and see which one sticks best before I have to perform.

[jemtheflute]

you need a clean, well defined drop in breath pressure

This is interesting. I thought I needed more pressure or maybe I'm confusing pressure with volume. I definitely open my embouchure aiming more down and pump more air through on that note but I guess the pressure would be lower?

As per my "afterthought", give it a go on low whistle if you have one - you'll feel the change you have to make in the air-supply. It is kind-of a holding back (but not a total stop) in the rate of exhalation and I feel quite a distinct muscle-use change, a momentary increase of tension and an actual dropping sensation in my diaphragm/chest/abdomen as I do it, the converse of the push you have to give to slur the octave up. Of course on flute you use embouchure as well and it is possible, maybe desirable in general to do most of your octave control that way - but in any case you need to adjust embouchure to correct intonation whatever you do with the air-supply. On whistle you have to get the pressure change right for tuning and to avoid undue contrast in volume too, of course - all usefully transferable to flute. If you are dropping the pressure by over-releasing your embouchure and pushing with the breath when you drop, then you'll lose focus, make weak, breathy sounds, not hit a good low D. Observing myself in the mirror, when I change octaves on any note the main embouchure size-change is in the height of the aperture - to drop, I lift the centre of the top lip and evert it slightly. It is actually best to look at this on notes other than D where the octave venting with L1 reduces the amount of change needed (or overblow it without venting).