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Discussion Starter #1
I know something like this has been posted before, but I just wanted to bitch.
I have a classical flute and guitar gig this Sunday. We have been practicing every night this week for 2-3 hours. The music isn't easy and getting a good ensemble sound/feel takes time. Anyway I haven't touched my C melody in a week and a half.
I find that playing jazz casuals doesn't take the accuracy of classical gigs and playing sax takes that edge off my flute chops. So no sax till next week. Has anybody had similar experieces?
 

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It's an age old problem..reed chops destroy flute chops.Even the great Lew Tabackin said so in an interview I once read. Unmaintained reed chops will also last longer than the very small muscles that maintain the flute embouchure. Having said that there are very many examples of players who play everything like it's their first horn.
It takes a lot of work to maintain everything and if you only have so much time and a high standard for your flute lay off the sax until things cool off.
 

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I find it different for me in fact the sax helps my flute playing alot . I also think that my clarinet helps my flute playing so thats how it is for me

Doug
 

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"It's an age old problem..reed chops destroy flute chops."
I disagree. Lack of practice destroys flute chops.

Any serious doubler knows, that the more you practice changing from one to the other, the less one affects the other.

But it sure is an advantage to have a great sound established on flute before playing a reed.

What I found hardest for doubling was playing for several minutes pp on clarinet, and then in a few seconds, changing to a piccolo solo, but even that eventually became easy.

I think the problem is that people want to assume they can do something without practising.

And playing several instruments with awareness, certainly does improve understanding of embouchure and breath pressure issues.

(BTW James Galway also plays French Horn, and there is nothing wrong with his flute chops!)
 

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I hear you...it's hard yes!I'm comforted to see someone else suffering this,there isn't enough snivelling over this matter in my view...Some days doubling can feel quite gruelling,you have had the flute singing beautifully during your practice,then at your gig you switch from fff lead alto,or a pop sax solo to a pp flute part in the high register with no warm up,the saxophone messes with the flute tone here yes!I've been thinking actually of a practise excercise that might help me a little here,after 40mins of flute tone work from De la sonorite,I'm thinking I'll throw a coconut in the air and catch it with my mouth,then go back to the flute ppp in the high register,the plan might need some work.
Doing entirely separate gigs is another problem again.I have done classical flute and then jazz sax on the same night.The problem there is,if your putting in a few disciplined hours a day on your flute,Reichert,Boehm,repertoire,what have you,your not totally absorbed in jazz music,it's not just the change of instrument,it is how deeply you are inside the music.Some people have a gift for this...lucky them.
 

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As Dan Higgins says, the better your flute chops, the better your flute 'doublng' chops.
you just have to practice and be around the instrument for a long time until it feels right. As you improve, your 'base level' rises, which means you'll sound better even when you're not in form or switching from another instrument.
Also, think about how much saxophone practice you've done vs how much flute practice. From beginning an instrument to completing a degree, and then some, most high level professionals would clock up close to, or more than, 10,000 hours practice.
Eddie Daniels suggests doing a degree on one horn, then spending 3 years focusing on each instrument after that.
 

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I don't think I said what I meant very well. Certainly if I have to play the flutes and saxophones in a recording session and given the choice I would choose to do all the flute first. I've been playing both a long time but I have to maintain the flute on a much stricter regime than the saxophone.
 

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Discussion Starter #8
Thanks for the input. In 84 Gary Foster came to my Junior College and talked about doubling. He said the worst was bassoon to piccolo. I've been playing flute since 70 and sax 77. My sax chops aren't as solid as flute but still the flute suffers more than the sax in doubling.
 

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Discussion Starter #9
Did the flute and guitar gig today, it was at an Art Museum. Can't wait to get back to sax tomorrow.
 
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