Helen Bledsoe

Category: technique

  • Piccolo Warmup

    To get started before doing the exercises specifically for piccolo, have a look at this exercise on page 5 from this collection of harmonics exercises (sorry the pages are not numbered). For some reason, I find them especially beneficial for piccolo. It’s good for developing awareness of exactly what combination of physical actions you need for going high – abdominal support, embouchure, placement of the tongue and jaw, and notice how the throat sometimes tries to help. Very kind of it, but not necessary 🙂

    This preliminary harmonics exercise will help with the challenges found in these two piccolo warmups which I have developed over the years. The first is meant to be quite slow, ideally to be played with a drone / tuner on the fundamental. The second is of course a rip-off of TG EG no. 1 and Mozart, but it works esp. for articulation and agility with large intervals. It’s kind of a killer when you go high, so take it easy if you are new to the piccolo.

    Composers often write for the piccolo not only because of its high frequencies, but because of its agility. That requires strength and training, and smart body awareness in order to avoid injuries or strains. Also, please protect your ears while practicing! If you don’t have professional earplugs, I find the silicone ones (also used for swimmers) quite good, you don’t even have to stick them inside your outer ear canal, just a little bit to cover the opening of the right ear is sometimes enough for me.

  • What is your Superpower?

    Having a kid and playing modern board games where it is teamwork against the forces of chance or evil (not everyone for him/herself like in my day), it is easy to fall into this kind of thinking.

    Because these days, everyone is special, right? No one is supposed to get left behind. Everybody has their own, special superpower. So what is my, personal, superpower? I am hoping I don’t have just one. However, for the time being, since I am spending a good amount of time each day on the piccolo, it is easy to imagine my superpower is that of playing high B’s and C’s. This is my special weapon, to produce blasts that measure over 100 decibels. Do I use it to combat evil? Well, maybe in my imagination only. But since this is not a game, it is my actual job to produce these notes, I have to deal with the situation in my own way. If I delude myself in order to produce what a composer writes, well, we all have to do whatever it takes, right?

    The thing with superpowers is that they do not happen automatically, you have to train them, refine them and learn to engage them exactly when needed. ZAAP!! Bullseye!

    In “The Dong with a Luminous Nose” by Georges Aperghis, on page 18 (of 21), after playing loads of low, airy sounds, singing and speaking, there are suddenly a few high C’s that pop up. And to boot, the piece ends on a high C. Now, high C’s are supposed to be my superpower, but they often fail me here in this context. Among the Jumbly Girls, the wail of the chimp and snipe, I forget that I have a lethal weapon in my hands. So my practice has to involve a lot of psychology. I have to remember to engage this power, to never lose sight of it. For this, microseconds help. Taking that microsecond in the leap to high C from the D below, not to say “Oh $§&”*”, but to say “Engage!” This takes practice (for me).

    So I share this so you all can think about your own superpowers, hone them, and practice engaging them. See if it works for you.

  • Using Harmonics: Making Difficult Intervals Even Harder! Why?

    If you have a difficult interval in any kind of musical passage, playing the second note as a harmonic makes it even more difficult. You have to put more effort into directing the air and controlling the air speed. Once you have done that though, going back to the original passage without the harmonic seems pretty easy! I see this as good training, the way a weight lifter will shift from heavy weights to light weights (not that my lazy self would really know about this, lol.) This week, working on student compositions, this kind of practice has saved me. However, this time I am applying it to piccolo, and it really works.

    The passage in question is as follows:

    The last four 32nd notes were troublesome. So I took the E – F# interval and repeated several times slowly, using the F# fingering an octave below (you could also use B natural):

    And the A – G interval like this, again repeating several times slowly and with an altered (but still overblown) fingering:

    It doesn’t sound pretty! (At least when I play it.) But it does make you work, so when you go back to the original passage, it is much easier!

    Any other thoughts? Other applications of this technique?

  • Getting Started with Multiphonics

    I would like to share the following presentation: Getting Started with Harmonics and Multiphonics – with a deep dive into the harmonic structure of the flute sound.

    Why do I start this presentation with a discussion on harmonics? Because if you learn how to take out, put in, and isolate harmonics in your sound, harmonics and multiphonics will come more easily.

    Since this is a work in progress, I will share a link to Google Slides instead of putting the content here. That way you can always view the latest version. Share your feedback, ideas, and corrections in the comment section here on this blog.

    Big thanks to Julianna Nickel and her flute studio at George Mason University for inviting me to share these ideas. It was great to bounce around these thoughts, hear questions and receive feedback. Thanks to Studio Musikfabrik for initiating and funding this pedagogical initiative, which will result in a tutorial video scheduled to come out sometime in the Spring of 2021.

    https://docs.google.com/presentation/d/1XZQvK567OgoM7MREmTqYzT0j6712FiIURzQJ-AZtrNQ/edit#slide=id.p

  • (Bore) Size Matters

    Several times this year I have had other flutists asking me about my bass flute and whether I was able to play easily in the upper 3rd and into the 4th octave. My Kingma bass flute has a mid-size bore (sorry, don’t know the exact specs) and is able to play up to high C comfortably, high C# and D with effort. When I recorded Mark Barden’s Personae for bass flute and bass clarinet last year, I resorted to borrowing a Pearl bass flute that had a narrower bore, because I could never reliably hit a high E on my Kingma (which is otherwise an awesome instrument!). This passage is an example:

    I am posting this to reassure you that if you are a seasoned bass flutist and are having real difficulty with these notes, don’t bang your head against a wall or berate yourself. Check your bore size. If you have one of those lovely large-bored instruments I really envy you – they sound marvelous! But I don’t envy you when you have to play in the 4th octave. Carla Reese sums things up nicely in her guide for buying large flutes:
    “In general, a big bore instrument will have a stronger low register and a weaker high register than a small bore instrument. Bigger bores also tend to have a slightly slower response and more difference in tone between registers. Big bores are ideal for playing in flute choirs (especially for the bass) but can be heavier and need more air. Small bores are ideal for solo repertoire, where the demands can require more agility and a stronger high register.”

    A colleague of mine who is a woodwind doubler has an extra small-bore Kotato bass flute, he says a high D pops out with hardly any effort.

    I wish someone would invent a bass (or alto) flute that has an adjustable bore size!

  • Getting Back in the Saddle

    I noticed a strange thing about getting back in shape after the last winter break. I was frustrated and, to be honest, a little frightened at how long it took to retrieve my “norm”, and wondered if it was a dire sign of things to come. I decided to blog about it, not only because most of us have a winter break before us, but to find out if I am the only person to have come up with the solution that I did.

    My problem was sound, so I worked on all the “sound” things I was taught. Sonority, harmonics, melodies, whatever I could think of. Even articulation exercises, as sometimes if I do some forward tonguing, my lips are really encouraged to focus and relax. But that didn’t really help. Nothing seemed to really get the fuzz out. However, after a week or so (yes, it was that long!) I decided to ignore my sound and at least not let my fingers lose their condition as well. So I worked slowly on 2nd and 3rd octave chromatic exercises (from P. Edmund Davies’ book) and strangely enough, focusing on really coordinating my fingers somehow got my mouth to do what it had to do to get a good sound, and ping! I could play with my normal sound again.

    Today*, due to delayed travels and chaos, I picked up the flute for the first time in a few days. Same yuckiness, but I remembered last year’s trick and it worked again. Was it my imagination, or could I actually feel the neural network involved in coordinating complex fingering activity actually communicating with and instructing my breathing apparatus and embouchure network on how to make an optimal sound? That is really what it felt like. Is there some neurological explanation for this, or is it psychological?

    *Actually today is Christmas day for many, but here in Russia, it is just another Monday.

  • Harmonic Exercises, with Articulation too!

    When playing through the harmonic series, the second overtone (a twelth above the fundamental) is a great check point. When students begin learning harmonics, this one often proves elusive because of the tendency to cover too much of the embouchure hole. By rolling out a bit and blowing down, it usually speaks. The following exercise I find useful because it begins by alternating between the normal fingerings and the harmonic fingerings. For those new to harmonic exercises, it provides a good anchor.

    Harmonicsstudies

    The next page gives a workout for the lips, and introduces articulation to harmonics, although it is also useful to practice legato in bars 13 to 38. I find articulation exercises with harmonics, such as those in Trevor Wye’s book, to be great stabilizers and strengtheners for the embouchure.

    Harmonicsstudies2

     

    Continuing with articulation, I am further inspired by Paul Edmund-Davies’ “The 28 Day Warm Up Book”. His articulation exercises are a mainstay of my warm up, and I decided to go one further and translate some into harmonic exercises. (Read my review of this book here.) This first exercise strengthens the elusive second overtone:

    PEDHarmonics

     

    This next one overblows the third overtone. It is for those already strong in this area; please don’t over do it, or any of these exercises. It is useful to combine these variations with Edmund-Davies’ original.

    PEDHarmonics2

     

  • Scale Practice – Superlocrian!

    If you are a diligent scale and arpeggio practicer, you might get tired of the major-minor-chromatic (and seconds, thirds, fourths, etc) routine. I want to share my enthusiasm for my scale of choice this week: the Superlocrian. If you have studied jazz, it won’t be new to you. This scale goes my many names. I actually prefer the term Diminished-Whole Tone, because that is what it is (see below). According to the Wikipedia entry, other names for it are Altered, Dominant Whole-Tone and Locrian flat four.

    First you take the melodic minor scale but don’t alter it coming down. (Yes, you are allowed to do that in jazz!) The modes of this scale are a gold mine for other jazz scales, but that will be another post.

    DWT1a

    Now, start on the 7th degree of the scale, and presto:DWTb

    The first 4 notes are a diminished scale (alternating half and whole steps), the remaining notes form a whole tone scale. How cool is that? Plug this in to Taffanel-Gaubert no. 4 and you have a new flavor for your routine and scale games. There are a number of books for jazz flutists that may have other exercises, but I have not surveyed this literature yet. Any suggestions?

    For more information on the web, especially about the chords that this scale generates, here are some links.

    How to use the diminished whole tone scale by Pete Swiderski

    Reverse engineering our dominant scales by Anton Schwartz (great graphics)

    A diminished whole tone lick by Bob Hartig