Sorry... "~~~" was me. Was having cookie issues. Think I`m okay now.

-Piko

Was that chocolate chip or oatmeal raisin?

I recently played in a masterclass with Richard Davis (principal of BBC philharmonic) and the issue of high E and F# came up. He said that high E actually requires the same airspeed and direction as high A, whilst high F# requires the same airspeed and direction as high B. Therefore, to play a good high E, play a good quality high A, then change your fingers to high E, then blow again exactly as you did for the A, imagining that an A is going to come out, but the result should be a good quality high E. Use the same procedure for high F#, matching the airspeed/direction to that of a high B.

This seems comfusing, but has helped me a lot!

This is very true.

Even using psychology on oneself will help many players until the extra air-speed becomes automatic... while playing high E, just THINK of high A.

I used to think Gb when I was playing F# to capitalise on this effect.

I guess that I was always lucky because I just knew how to support the sound of those notes and didn`t have to think of them any other way.

i dont have any problems with my high e. my flute was custome made thow so that is why.