|
Woodwind -
Piccolo
|
|
Written by Jonathan Brahms
|
|
FOR ORIGINAL SOURCE CLICK HERE The XX century has seen the emergence of new piccolo flute compositions, which gave this instrument a soloistic perspective, with its own dignity and identity. These works originated from different parts of the world, so much so that they incorporate different musical techniques and genres. This article will tackle three new compositions for the piccolo flute, which feature new ideas for the piccolo flute repertoire.
|
|
Read more...
|
|
|
Woodwind -
Piccolo
|
|
Written by Jonathan Brahms
|
|
FOR ORIGINAL SOURCE CLICK HERE The ‘strengthening of support', is a subject that has been tackled by me in the first articles in this magazine. This means that that one involves the abdomen, in deep breathing, as if the air is filling up the lower lungs. What one is actually doing is using the abdomen to cause the lowering of the diaphragm in order to extent the capacity of the lungs. This strengthening of the diaphragmatic support is crucial in the study of the piccolo flute. A good diaphragmatic support develops a good emission, control and intonation. The exhalation phase is the most important part in the breathing process.
|
|
Read more...
|
|
Woodwind -
Piccolo
|
|
Written by Jonathan Brahms
|
|
FOR ORIGINAL SOURCE CLICK HERE Good piccolo players can be recognized because they play in tune in all dynamics, registers and orchestrations. We’ve already touched upon tuning exercises. Remember, these exercises are not the kind that you learn and leave behind; these are ongoing exercises because unfortunately, the ability to play in tune, even once accomplished does not stay with us long unless we maintain it daily. It is all too easy to play out of tune! If you want to have good intonation, you must continue exercising your ability as long as you play with others!
|
|
Read more...
|
|
|
Woodwind -
Piccolo
|
|
Written by Jonathan Brahms
|
|
FOR ORIGINAL SOURCE CLICK HERE The careful purchase of your own piccolo flute represents a good beginning. If you choose to dedicate yourself to a career as a flutist (not only as a piccolo player!), the purchase of an instrument becomes an immediate and fundamental concern. It’s indispensable to have your own instrument for a good performance in a concert or in a competition. While there are differences among flutes that are built with the same or similar materials and with the same density, these differences are much greater among piccolos, because no two blocks of wood are identical and the due to the smaller dimensions of the piccolo, the margin for error is far smaller.
|
|
Read more...
|
|
Woodwind -
Piccolo
|
|
Written by Jonathan Brahms
|
|
FOR ORIGINAL SOURCE CLICK HERE When I first started playing piccolo many years ago, it was a difficult introduction because I had been taught to play the flute with a very relaxed embouchure, so it was impossible for me to get a sound at all. When I asked how to go about practicing piccolo, I got either no advice - or bad advice - such as practice flute for three hours, then, do the whole routine again on piccolo - which was far worse than no advice. Although I am not a full-time, professional piccolo player, I have been working at piccolo on and off for quite a few years now, have taken piccolo lessons with top players and have worked through some of these obstacles satisfactorily, so if possible, I would like to make it easier for others. I hope that some of these ideas will be useful.
|
|
Read more...
|
|
|
|
|
|
|
Page 1 of 3 |
