Thank you Emily for another incredibly helpful video! You mentioned that you move your jaw to direct the air upwards in order to help the intonation when playing softly/ end of notes/ diminuendo. When I try doing this, the sound becomes thinner and airy. How could we solve this, or how could we “fine-tune” with our lips? Thank you🙏🏻
Thanks for your question, Sirius. Yes indeed, usually the lifting of the airstream does mean the tone gets slightly more 'wispy'... but I find that can often help the diminuendo effect! But if you don't want that, I think you need to slightly reduce the aperture of the embouchure (between the lips)... but it's important not to do this as the first step or it'll just sound tight, squeezed and flat! Let me know if this helps...
Emily, your example performances are great! That difference of tone colors, dynamics, etc. Your verbal explanations are very helpful of course, but if you show us more how you do them with your flute, hopefully with a closeup of your embouchure, it must be the best!
Thank you for your comment, Keiko. There are a few close-up shots of me playing in thei video actually... are they not clear enough? In any case, it's more about what YOU do with YOUR lips and mouth that matters... we are all slight different! 😜 Anyway, glad you like the video! Happy flute-ing! 🎶
I loved your video! Such great explanation and lots of details, but made so easy to understand and apply! Thank you so much for sharing this :)!!! Greetings from Perú!
Thank you. I love your examples and your words of an artist not only in music but in painting and poetry. That you play exemplifying the knowledge is such a gift for all who view you. You give yourself to the whole world of flutists. I am in awe of your first class teaching method and blessed by you.
This is it!!! One of the things I have been most puzzled with for years not really know how... I am so so grateful that you are so so kind doing this video Emily🙏🙏🙏 thank you thank you.. I am so looking forward to this❤️❤️❤️❤️. I am sure this will help many🙏
Thank you again for another wonderful teaching video. I can't thank you enough for sharing your knowledge with all of us. In each of these videos you give so much to think about, specific ways to practice, and the reasons for working on the specific skill. I really admire players like you that can keep all these different ideas and skills juggling around in your head to play so beautifully. Your style is very encouraging. Thank you Heidi
The condition was so bad these two days, teacher asked me to stop practicing for a few days, but study can·t stops! It`s my honor to watch all the videos from you, and I will make notes carefully, thanks in advance！
Thank you so much for this, what brilliant teaching methods you have and as a 75 year old student working for grade 5 , you bring me such inspiration. So looking forward to your next video.
Hi Emily, this is a Very practical teaching! Very helpful!! Also I have another question about play the ending high note like E F# or G long-toneon the stage, how should the brain imagine keep very nice long high note until finish or when the piece starts with a soft long high note. how to Precise play it out. It is completely different from the venue where I practiced alone. Hope to have a video about these knowledges. Thank you again!!
Hi Jenny, I'm glad you find this helpful! When you are ending with a long, high note, as you are making the diminuendo, keep imagining the vibrato getting smaller and faster - keep the sound alive. This will keep your air well supported!
Hi Emily, Thank you very much for your reply! In addition to physical changes, is there anything else in our mind? Especially when facing a lot of audiences at the scene. Also Thank you very much for adding different languages to the video! You are so great teacher!
Hi Emily, from an admirer in the USA. What do you think about forming air pockets inside the mouth (the so-called "inflated cheek embouchure") that Walfrid Kujala teaches and was used by Joseph Mariano, Julius Baker, etc.? I find it extremely helpful in relaxing the mouth corners and avoiding unnecessary tension in the lips for any dynamic.
Hi Leo - thanks for your comment and question - so interesting! I've never taught or even thought much about this. I do naturally use it sometimes... but almost by accident. Can you recommend a book or video which explains this in more depth? Thank you!
@@EmilyBeynonflute There's a 1995 dissertation by Kerry Elizabeth Walker titled "Cheek Inflation and Vowel Posture Techniques for the Flutist." Read the Abstract at ttu-ir.tdl.org/handle/2346/11548 where there's also a link to her dissertation. There was also an article by Kujala (The Benefits of Inflation) in The Instrumentalist magazine in Feb., 1973, reprinted in Flute Talk in May, 1985 and also Oct., 1994. He talks about UPPER cheek inflation, but for me, LOWER cheek inflation (in the jowls area) works better.
Thank you for a great video! Your tutorials are such a great help. I have always found this topic very difficult. Especially the colours. Struggling to sound other than one-dimensional....:(
Thank you very much for your knowledge and sparkle in your eyes. This is the smell of happiness. I look forward to your lessons. On the Internet, your lessons are the most professional, systematic, accurate and interesting. thanks))))
@@EmilyBeynonflute oh goodness♥ i never expected to be replied by you! i am sooooo honored! 😍 wow i am capturing your reply to flex to my flute peers! thank you so much, you made my day!
