Think of the minor pattern in melodic minor with these exceptions:

• First and last descending patterns before the modulation are harmonic.
• Alterations exist between the sixth and seventh degrees of the harmonic minor outline because of the voice leading.
• The last pattern modulates into the next key by the addition of a flat of subtraction of a sharp.

Another exercise for harmonics is to finger and play middle C then over blow to the second octave C as like above. While in that octave, switch fingerings to the same pitch of that note.  Otherwise, play the real fingering of the third octave C.

Sit down on the floor and put your legs straight out in front of you.  Lean back at a 45 degree angle with shoulders as straight as possible. Play scales and patterns (pref. Taffenal). Feel the pressure in the middle of the stomach, not the lower part.  Learn to play with that kind of feeling in your stomach like when you sat back.

Another exercise is standing up and bend forward at the waist to make your back parallel to the floor.  Play your scales and exercises.  Feel the support.

Get on your hands and knees and keep your back parallel to the ceiling and floor.  Play the flute in that position best as possible.

For balance of the flute and to get the correct pressure on the keys, learn to play without the right thumb that is used to balance the flute.  Also, do this if you suffer from tendentious or carpal tunnel.  It keeps all the pressure from being applied to one area of the hand that causes these.

To have a well balanced sound, have plenty of space to move and play.  Play bent forward at the waist, and play bending in different directions from left to middle, from middle to right, and so forth.

This is very important!!  When putting the flute together, NEVER hold the head joint on the embrouchure plate or the keys! Your embroshure plate may come off and there is nothing like having to find a welder before that big audition.

When auditioning, the judges prefer to hear music cleanly, even if it means playing it slowly.  The better playing is clean!
 
 

For higher pitches, air is vibrated at half its rate. When playing higher pitches, the angle of air blown into the flute MUST NOT CHANGE!! Aim for the edge of the wall to split the air stream. Pinch the lips for the higher pitches. For lower pitches, focus the airstream lower into the flute wall. Do not crack or squeek the notes.

Volume is how loud or soft sound is.  Fred the farmer shows us that when he squirts his hose in his garden at full blast without his finger over the nozzle, it does not reach very far, but when he puts his finger over the nozzle, more pressure is built up and the water squirts out farther because of the smaller hole.

• ff to pp
• ppp to ff
• p to ff to p
• ff to p to ff

Use a tuner at all times!!!

• Singing T-K or D-G
• Scales 4, 2, and 1 note per degree for double tongue.
• Overlap of compound with single (ex. Single mm=120, Double mm=100)

Scales 6, 3, and 1 per note degree for triple tongue.  Types for this include: 1.) DGD DGD 2.) DGD GDG 3.) DDG DDG  Keep notes long when going fast. No space should be between them.

Myth #1: When we inhale, we inhale air through the nose, into the lungs, and finally, the diaphragm.

Myth #2: The flute makes a sound by the air vibrating across the embouchure hole and swirls around inside causing vibrations.

The best ways to practice are as follows:

I. Small Sections:

• Practice short sections at a time (two bars and one note or four bars and one note). The section must end with a strong beat.
• There is a tempo at which you can do the passage perfectly. Use that tempo. Speed will gradually increase.
• Observe dynamics from the very first playing.
• Apply your analytical techniques (e.g. recognize scales and arpeggios), and memorize immediately.

II.

"I believe in marking off all passages which we find especially difficult, and then practicing those passages patiently.  Concentratedly, intelligently, relentlessly. . .until we have battered them down, knocked them out, surmounted them, dominated them, conquered them. . .until we have transferred them permanently from the weakest into the strongest passages of the piece."

-- Charles Cook, Playing the Piano for Pleasure

"Play accurately; avoid reading errors, otherwise it becomes necessary to tear up the old track and lay the new, which is a tough task indeed. Practice those fractures until they no longer exist."

-- IBID

"Slowness gives the feel, rapidity the gesture."

-- Ernst Bacon, Notes on the Piano

III. Mental Practice:

"Think ten times and practice once."
-- Paul Pollei, Pedagogical Tips for Piano Teaching

"The mind knows no technical problems. One must first hear the sound, then practice."
-- Rosina Lhevinne, How to Teach Piano Successfully

"One must practice with full attention to all the details, so that all of those processes which are below the level of awareness in performance may function reliably. If that confidence is wanting, anxiety cannot be far behind. A successful performance depends on the extent to which one can transcend being overly conscious of details, difficulties etc., and reach that state in which the feelings and emotions of the music almost fully occupy one's consciousness."
-- Dale Reubart

• 1. "Nothing ventured, nothing gained."  If you do not want to go to a school far away from home to learn from the best, then there may be a chance that you may not be successful. To become the best, studies must be done with the best.
• 2. "Be your own best teacher." Never look to the private instructor about problems constantly. Instructors teach the students only 5% of the time of our musical development. Be skeptical about what is learned and ask yourself what and how does this apply to yourself.
• 3. "Okay, so the New York Philharmonic won't take me. . ." So there are about 100 orchestras in the United States. There are only four flute positions open per each one. You must be flexible with the music career willing to do anything. Some suggestions are starting your own studio, school, chamber groups, musical organizations, flute choirs, teacher, etc.
• 4. "That's a good player, but. . ." The best player does not always get the job or succeeds. Personal integrity is very important to succession. Be able to get along with anyone. You need people to help support you and you need more friends than enemies.
• 5. "Compete, and you lose." Do not be competitive with your peers. This is a BIG MISTAKE! Making more enemies is the only outcome of competing with peers.
• 6. "Music is a business, know your customer." Music is not only an art, but an business. Money, income, supply, and demand is also part of the music world. To get business, advertise at schools, yellow pages, etc. Market and merchandising your product is very important. Learn to write a contract in order to keep from getting burned in the future.
• 7. "No excuses." Even if you try hard, the world revolves around results, not attempts. Produce the stuff and be ready, no excuses whatsoever. Be very responsible!
• 8. "Grow a very thick hide. (What doesn't kill you makes you stronger.)" Music is a hard business. You can't let anyone put you down by criticism or rude remarks and behavior.
• 9. "Attitude is almost everything." Confidence, cooperativeness, resilience, tolerance, flexibility, optimism, and respect is part of having a good attitude. Matureness is very important. A good attitude is very realistic. Do not over exaggerate anything. Professional is being a mature adult.
• 10. "Life is never fair, so get over it. . ." Fairness is not realistic. There is no such thing. Do not make yourself the victim.
• 11. "Get a life!" Think about what hobbies and interests you have that does not have anything to do with music. No one wants a music only freak. Develop hobbies to keep healthy mentally, and physically. Music reflects healthiness. Do no be stupid and tell committees about your personal life. Be balanced.

12. "If you want to succeed, patience and discipline are important." Discipline means year after year of doing tonal studies, keeping fundamentals, etc. Music is a physical activity. Less than 1% is performance and the rest is practice. Patience is accepting the fact that getting a job may take a long time. Start at the bottom and work up.