Hi!

After trying everything for a while, I still have much difficulty with the F2 sharp, specially when slurring from E2. The problem is that many times I get a different note (sounds close to "A")

I can make it to sing reasonably well when not in a slur, but otherwise I fail the right note half of the times.

As you may recall, I have posted recently about a possible wrong cork position, but this is now solved and there was no change concerning the F2# problem I have (not that I expected it be, BTW).

I would appreciate any help you could give me....

Hi Jose,

I always make a confusion when I try to figure out what F2# means. Is it the low, middle or high F#. I'm used to a convention where the C3 (Do 3) is the lowest note in a C foot flute.

cheers,

Zevang

well, neither F# is easy to approach, the highest is the least comfortable...

I would recommend some technique exercises around these notes that make them easier to approach, such as e-f#-g-f#, repeat, then e-f#-g#-f#, repeat, so on, etc....

I apologize for the confusion. Too much asleep, I wonder

It is not F2# but F3#, that is, the third F# note playable on a B/C flute. Third octave.
Fingering: LH: index + annular; RH: annular
The slur in question is E3 to F3#
Instrument: Yamaha 674
(much ashamed)

<Added>

The note that sounds instead is close to B2, that is, in the B in the previous octave (with a B foot I never know how to call the Bs.... should the lowest one be: "B 0"? or "B -1" or...)

<Added>

OOPS:
in the B in = the B in

Oh jose_luis, no need for apologies... :-)

It's just that different countries use diverse systems, so sometimes we need to equalize to a better understanding.

I must agree with micron, adding that you maybe need to put some extra support by your abdominal muscles in order to enhance velocity (not power).

cheers,
Zevang

Thank you for your answers.

A few months ago I had the opportunity to have a Soloist listen to my playing of a short piece. He immediately said that " I was doing everything with the mouth" (lips, etc) and I was not using my abdominal muscles sufficiently. His remark was that "one uses the lips to give the final colour to the sound, but the rest is done with abdominal muscles" (if I remember it correctly).

The comment from Zevang is therefore quite appropiate.

However, I had only a short interview with the Soloist, it was before a concert and I was left with that remark but no further hints on how to use those muscles as I should do. I mean, should I "push" (the diaphragm) down? (that is what my sing teacher is always telling us) or keep the abdominal wall stiffer, ( think that was what the soloist told me) or...?

Some help on the technique would me most useful for me, Thanks

The suggestion of Patrick is of course on the point, only that right now I have too much difficulty slurrying from E to F#3 as to exercise the interval repeatedly. Simply put: it's too much frustrating. I think I must correct my technique first or find the cause behind the problem.

I notice, as Micron suggests, that higher air speed (which I think I get by a combination of more focused embouchure and higher air pressure) increases the chances of getting a F# and not a B. If the note is attacked with tonguing, it will be OK, but when in a slur, it will most probably not.

The problem seems to be that I am at the limit of the air speed I can apply.

Difficult to explain, I am afraid....

Thanks Micron. The link you provided above is very informative.

I am glad to read there that, in a way, my sing teacher is right in saying we should keep our diaphragm down, to control the exhaling process commanded by the abdominals. The article says that if we let it collapse, we loose control of the exhaled air.

I understand that you also coincide with that article in that there is a kind of balance between the abdominal muscles and the COUNTER effect of tightening the diaphragm, if by tightening we understand "keeping it low".

As a Flute /singing student for four years, I think I am aware of this process,no matter that the diaphragm itself cannot be "felt"

So far, OK. Does it all mean that to exhale the air in a controlled way, keeping at the same time enough air pressure to trigger the right harmonic (F3# in my case), I should:

- Keep the diaphragm "low or down"
- apply enough pressure with my front abdominal muscles (and intercostals), but at the same time not allowing the abdomen wall to "dip in". I imagine this effect as tightening the abdominal wall, similar to the reflex when you expect a blow in that area?

But if everything is so blocked and tight, how comes that we manage to expel any air at all and moreover, control the speed, and quantity?

This is the part of the process I cannot understand and it could be that my problem comes from this poor understanding of the whole process.

Micron, congrats on such a complete information you provided.

By the way, just for our records, I'm a guy... :-)

Zevang stands for Jo(se) (Evang)elista, my real name.

cheers,

Zevang

Thanks Micron for your exhaustive description of this process, that we do so much automatically and take for granted, but proves to be so complicated under close examination.

My singing teacher insists a lot about right abdominal breathing and using the abdominal muscles to expel the air in a controlled way (albeit she probably refers now or then to the diaphragm when she should not). But in general her message is clear, it is just that we are not used to controlling all these muscles at the same time, while concentrating on the notes, positioning, tuning, airiness, correct projection and so many other things.

I find that with the flute, we have considerably less time (while playing) to concentrate on this aspect of correct breathing, at least at my level where there are so many difficulties together to deal with.

It may result that some of us, students, do not pay enough attention to it until a problem shows up.

I will re-read very carefully all the information you provided (probably several times as it is very complete) and see how I can apply your recommendations to my problem.