great! thank you

 

Very very cool! I would not have found this. Thank you.

 

This is an excellent website. Mr Joffe mentioned to me that he particularly wants to draw the attention of young players to it but so far has mostly drawn more seasoned players.

 

I've really enjoyed the videos he puts up as well. Great to see a flute video posted this time!

 

Watched part of it and will finish it later.
He's a wealth of teaching talent.
Emphasis on the lips and jaw movement are important.
So my teacher says: do you always end your tone flat while playing pp?
Then we discussed how to move my jaw forward, ever so gently, and stay in tune as I end.

 

Thanks for posting.

 

Very very nice, thanks a lot!

 

There ya have it. The keys to Flutedom.
All us NYC boys and girls know that stuff.
Just kidding of course...... But Keith is spot on.
I'll review it again but for now I will add to the part about facial muscles. The smear, chin and grin muscles are all used together but some obviously, let me say, favor one or another.
His mention of the importance of your body's air systems role in its effect on tone quality..... Not talking about the air stream but the way the body holds the air. When it's time to blow for the $$$ we sit up straight or stand.
I did love his imitation of famous player's tone quality.
Pahud and Gallios are two more to listen to.
In the world of flute and classical literature there is no peak at the top of the playing field. It is a plateau.
That group is technically proficient!!!
A quality tone is within almost everyone's reach. The flexibility of hands and embouchure is a much harder and dedicated task.
I studied with a city boy who graduated Julliard in the '40s, studied with Arthur Lora, who took over for Barrere at Julliard, and who worked his magic flute in the world of opera and many other areas.
My teach was playing a steady gig in the early years on TV when live musicians were on air as his teachers had the Met/NYP etc gigs. Nice to be at the top of their call lists
Keith's mention of viewing from the side of a flute being played is also valuable. That's what you get when you study one on one..... or should I say with the right one.
The very front of the lips are most important as it does the work with it's and the jaws subtle movements.

 

Very interesting about the relation of the lower lip position to how much of the embouchure hole is covered.

 

Well over the past 2 weeks I've completely changed my flute embouchure by applying the concepts explained in the interview.

I'm very pleased with the results:

*more flexibility in the register changes
*fatter low register and less shrill high register
*flute is more secure in my hands, no shifting when going through the break
*better tone and more even intonation, C# is actually in tune now !

It wasn't so hard making the change, I didn't tend to revert to my old embouchure, but it was quite the workout for my facial muscles.

I hope that someday I can take a couple of lessons with Keith Underwood.

 

Wow, Daigle, that's great. Is there any chance you would mind explaining some of the applications you made from the video to your embouchure?

I've been trying to apply his concepts about forward tongue placement (lips "wrapping around" the tongue) which has definitely helped.

 

Before I was placing the lip plate much higher on my lower lip, now it's positioned below it. The "lock an load" he talks about in the video. So now I'm using my lower lip a lot more in directing the airflow.
This is an entirely subjective observation but now I feel that my embouchure is like 60% upper lip, 40% lower lip. Whereas before it was like 90% upper, 10% lower.
With this greater contribution from the lower lip, the 3rd register becomes less strenuous.

 

Part 2 is up now also......
http://joffewoodwinds.com/videos/keith-underwood-flute-exercises/

 

Thanks !
Will definitely watch.

 

Amazon has the Breath Builder for sale (pricey), and in a user review are these instructions for use, which you might find useful:

Used properly and regularly, the Breath Builder will increase the amount of air you inhale and can use in a wind instrument. It will enable you to increase the volume and pressure of air you use while playing. This should result in increased volume and greater control.

At all times, attempt to take in and expel the largest amount of air you possibly can. This will often entail using your abdominal and some other muscles more complete than you ever have before.

Leaving all holes open, raise the ball and keep it suspended while you inhale and exhale thoroughly through the Breathe Builder for one or two minutes.

Take a break of thirty seconds to one minute (or longer if needed.).

Close the large hole and repeat process described in number 1 above.

Take another break of similar length or as needed.

With all holes open, raise the ball to its suspended stand and close the large and one small hole while keeping the ball suspended as in 1 and 2 above. Continue the inhalation/exhalation process for one to two minutes with the hole closed. Because of the greater pressure required both inhaling and exhaling with the large and one small hole closed, this configuration is the most valuable to increased breath control.

Stop using the Breath Builder and rest any time that you feel dizzy or become disoriented. This is the result of taking in more oxygen than your body is used to handling. This condition will abate you as you use the Breath Builder regularly.

If you take a break of two or more hours, use the Breath Builder again (as above) at the beginning of your practice session.

 

Prior to devices to to assist breath volume and control some people spent time at the local lake/pool/ocean. The gent in the photo is an extreme example of dedication and needs to move South.

 

Really great stuff. I just ordered the medical bag he was demonstrating from Amazon and am very curious if I'll totally fail with it at first, or if I will get the astonishing results he was getting. Going to hold off on the breath builder for now, although it looks very interesting as well.