Paul Edmund-Davies: 28 Day Warm Up Book

Recently I have enjoyed working from Paul Edmund-Davies “The 28 Day Warm Up Book, for all flutists…..eventually!”. Its (English-only) text is extremely clear, with touches of humor that engage the reader from the start. His approach is extremely practical and humane. There is advice on how to approach your practice, how to structure it, and the empty staff paper at the end of each section encourages further thought and creativity for your own exercises.

The daily exercises cover four areas: sonority, fingers, articulation and intervals. I felt compelled to write about my experience with these exercises because it is a lesson in humility. With several decades of professional playing under my belt, I took a look at some of the pages and thought “how simplistic, I don’t need that stuff”. But playing them, I realized that they were quite challenging. So I got to work. And they sound nice! My family particularly likes to hear me practice Articulaton no. 7.

A number of exercises I find useful for piccolo practice. Intervals no. 2 is not only good for intervals, but makes a great intonation study if played with a drone from a tuner or computer. (How I wish I had a live tambura player to assist me :-)). Articulation no 6, with its combination of repeated and moving notes, is especially good for controlling the sometimes tricky middle register of the piccolo.

The section on fingers I find very practical. He points out that scales are all well and good, but they don’t really train the fingers to lift and close with swift independence. The exercises, some of which are based on Taffanel & Gaubert, reinforce this idea. Because its familiarity makes for easy memorization, I am a great adapter of T&G myself, and am always happy to learn other approaches.

Here on YouTube, you can watch Paul Edmund-Davies demonstrate some of his exercises in the context of learning Anderson’s Op. 15.

For those who are interested, my complete warm-up these days goes as follows:

  • harmonic studies, with and without articulation, add trills
  • finger and articulation exercises, including scales and written exercises from this book. As I have written elsewhere, I find Peter Lloyd’s approach works well with me: Get really warmed up first, and then do sonority work.
  • combined melodic sonority/intonation/interval exercises from this book and others

You see, I have gotten away a bit from long tones. They can be useful, and I may come back to them at another point. But for now, I find melodic studies and other exercises from “de la Sonorite” more useful. Gotta do what works!




Extended Techniques – a Do It Yourself Handout

Here is a 14 page booklet I put together on how to do the basics of some extended techniques:

  • Harmonics
  • Multiphonics
  • Singing and Playing
  • Whistle Tones
  • Percussive Effects
  • Circular Breathing
  • List of Studies for Further Practice
  • Selected Repertoire for unaccompanied flute

Here is the link. You may pass it on but please give credit where it is due. Any further suggestions are welcome.


The Radiant, Gradient Way: Color Practice

No one can watch the inside of your mouth when you play the flute, thank goodness. However, when talking to students about color changes, an X-Ray machine might come in handy. You could demonstrate how the position of the tongue, the jaw, and so many things come into play when you change the sound of the flute from loud to soft, harsh to light, bright to dark. Using such words is usually the best we can do when trying to describe musical timbres. That can be tricky though, one flutist’s dark can be another’s bright. Words are not always sufficient.

Thank goodness for imagery. Here is a collection of ideas to help stimulate the aural imagination. I was inspired by Photo Shop’s gradient tool to make the following images.

Let’s take one note and see what kind of spectrum can be produced. I chose B natural because it is the Moyse thing to do, but choose a note that is good for you. The purpose is to take a full breath, play a single note while going from one aural extreme to another. What happens in the middle can be quite interesting, I find. You can also practice these exercises backwards.

Some people work well with color imagery, so an exercise like this might work:
Another exercise could be to imagine a trumpet-like sound, then go to the extreme of complete air noise. I thank Harrie Starreveld for this suggestion.

You can also consciously control the position of your tongue by producing different vowel sounds. For example thinking a deep, open O sound, to a rather closed I (think of the word “eye”). I spelled it “aye” in the example. In preparation for this, I like to sing the exercise first to get a feel for how the tongue moves and how it changes the harmonic components of the sound.

Peter Lukas Graf also has an interesting approach. He describes different categories of sounds starting with those that are rich in overtones, think of the opening of the second movement of Cesar Franck’s Sonata in A, to those that are poor in overtones, think of the opening of Debussy’s L’Apres Midi. Of course it is a simplification, the music of Franck and Debussy require a variety of colors, but these are the associations that stick. If such imagery is useful, here is an illustration:

Any other ideas?