Okay I just thought of another question. My flute teacher is a GREAT flute player but a crappy teacher so she teaches me NOTHING!!! My lips are positioned a little over the flute hole. Will that affect my playing or is that ok? If it's not okay, please tell me how to fix it. ONe more thing, I think my air flow is staying in the head joint. How do I get the flow to move through the entire flute? Like I said, my teacher is a crappy teacher.

There is no way for us to tell if your lip positioning is a problem without observing your playing firsthand. Embouchures vary widely, and what some may consider an issue works well for others. I don't quite know what you're asking about air flowing through the entire flute, but air moving through the flute is not what creates or controls the sound. Sound is created when the airstream is split by the edge of the embouchure hole, and these sound vibrations travel through the air column in the flute (which is controlled from a length standpoint by opening and closing keys). The air will not (for the most part) travel through the body and foot all the way to the end of the flute, but will exit mostly through the embouchure hole, and also through the toneholes, wherever they're vented. If you have doubts about your teacher, you should look for a new one. There's no point in paying if you feel like you're not learning anything, even if they're one of the best performers in the world.

My advice then, go out and get another teacher. If this one is not helping you at all then you are just wasting money.

It is usually necessary to be unusually objective or listen to comments about your playing in order to recognise improvements over a relatively short period of time (3-6 months). It is even more difficult to attribute improvements to better practice technique, experimentation, comments from your teacher etc.

Especially for intermediate players (who can play a 3 octave range fairly fluently) a good teacher may set expectations for improvement in terms of musical expression; improved sight reading; playing rapid passages fluently, tone etc. However, many teachers are not that analytical and often work sequentially through a repertoire that develops a broad range of playing ability over a period of time. Its very easy to bore students or mask improvements with a constant emphasis on scales and set pieces.

Perhaps the most important aspect is enjoying playing flute (both on your own and in various ensembles). Asking a teacher questions about how he (or she) plays a particular passage better or with more style than you might be helpful - ultimately the emphasis, exact length etc of every note matters!