Focus
Flute
Instructions for use
what is it for, how to
use, questions for the
practice, considerations, adapation to the instrument
The FOCUS was meant to help the musicians to identify
and resolve the problems caused by defects of emission: not correct speed and
air quantity, movements of throat, not continuous flow of air, tightened throat
that obstructs the sound.
what is it for, how to
use, questions for the
practice, considerations, adapation to the instrument
HOW TO USE IT
First of all play the chosen musical phrase with the
instrument (if possible, at the beginning of your practice a phrase in which a
continuous flow of air is needed, or a scale that goes up and then down) then
repeat it with the FOCUS.
You must perform imagining the tones and trying to use
your body exactly as you did before with the instrument. The attention should
be addressed to the sound resulting this way.
Playing with the FOCUS the sound should be good,
continuous, with the diminuendo and crescendo determined by the melody and the
phrase. The intonation of this sound should have small variations following the
melody too. You should feel the sensation of easiness, spontaneousness of
emission. The movement of fingers, of tongue and of melody shouldn’t influence
continuity and quality of the sound, in the staccato too.
Irregular air flow (evidenced by an irregular volume
or by a different pitch) or movements of the embouchure or other things will be
evidenced.
When melody goes up intonation will rise a little too,
and vice versa, but this should happen without snaps or discontinuities
(however the amplitude of the interval depends on the school you come from).
In particular at a certain point in this rising (which
is different depending on the school you come from) you will find yourself
playing the upper overtone: you shouldn't bother about this fluctuations in
intonation (it is a mistake to play all the same way) but become away and do it
consciously.
what is it for, how to
use, questions for the
practice, considerations, adapation to the instrument
So, studying with FOCUS, you have to listen very well and
ask yourself:
- Is
my airflow continuous (are there snaps or holes)?
- Is
the pitch regular (that is passing through the same note there’s the same
pitch)?
- In
this difficult passage, is the sound good, resonant or dull, little, not
very alive?
- Is
there continuity and intensity when you play the dynamic piano?
- Are
my attacks played with continuity of air, or the tongue comes first and
the air second going fitfully?
- And
the end of tones?
- After
having breathed is the pitch the same?
- Is
this the right opening of the mouth in this low note?
- And
in this high one?
- In
which moment does my professor moves to the upper overtone?
- Is
this irregularity of the flow wanted for a musical intention or is it
casual?
- During
this trill, do I go on blowing or I become rigid and I modify the flow?
- How
is the intonation in the crescendo, in the diminuendo, when I start or
finish?
·
All the questions posed above and others that may
emerge from practice inevitably bring to FOCUS the attention, to try to correct
yourself, to try to blow with continuity, to be on pitch etc.
what is it for, how to
use, questions for the
practice, considerations, adapation to the instrument
The FOCUS cannot substitute the practice with the
instrument but it can help a lot in eliminating certain defects because in the
simulated play there is a "reset" effect in the emission.
My suggestion is to use it only a bit, as a reference
point to understand what happens within you, how you should blow when you are
playing. I think you can use it for five – ten minutes when
you practice.
Studying with FOCUS you can notice that it makes your
throat become wider, it relaxes it and allows the air to flow undisturbed: this
way you get conscious of the air column, that goes in continuum from diaphragm
to your lips: Then you should try to reproduce this sensation with the
instrument, without being distracted by notes.
what is it for, how to
use, questions for the
practice, considerations, adapation to the instrument
Insert the FOCUS between headjoint and instrument with
little cork grease.
In the case it will be difficult to insert it, raise
and move the OR out of the seat with a small screwdriver, scrape them with fine
sandpaper and put
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