Flexibility

Flexibility of sound is a goal for all musicians, which of course applies to all flutists as well. However, attaining this goal on the piccolo is especially difficult.

The first goal is the ability to connect the registers of the instrument, that is, the ability to go from octave to octave with any given pitch and dynamic level with a consistent tone color.

In order to work to reach this ability pre-supposes that the student already has flexibility in dynamics and intonation.

There are three facets to this work, becoming able to consciously:

1.  Change the shape and the direction of the air column
2.  Coordinate the shape and the direction of the air column
3.  Coordinate that shape and direction with the air speed.

Flexibility requires the absence of tension. By this, I don’t mean that piccolo playing doesn’t require muscular work, I mean that using the muscles should not result in rigidity and stiffness in the embouchure because once the embouchure has become rigid it is difficult to let it relax.

Flexibility also pre-supposes freedom in the movements of the throat and the larynx. Analysis and attention to these parts of our body while we’re playing is indispensable and flexibility is impossible it is to achieve without them.

To begin this kind of research and maintain results, I suggest three kinds of exercises:

1)       Apply the pattern of the first example to the first exercise (p. 6 of “De la sonoritè" by Marcel Moyse).
We have already utilized this exercise for working on intonation using octaves (see Syrinx n° 48), but it is also an excellent exercise for developing flexibility.
It must be played with in strict rhythm - the passage from one octave to the other must take place precisely when it is indicated or the benefit of the exercise is greatly diminished.
Start with an easier tempo and repeat the bar softly (piano), making a big dynamic contrast. When this exercise is under control, apply the pattern to Number 1 Bis on p. 9.

2)  Work on one exercise per day, from the 36 in the section “Attaque e laison des sons” from the book that we have already mentioned, in the four ways suggested by Moyse.
As an alternative, or in addition, apply the patterns of examples 2,3,4 to these exercises.
Study every triplet in this way and apply every kind of grouping that you can think of.

3)   Study exercises 3,6,10,13,14 from the book “Etudes et exercises techniques pour la flute” by Moyse, playing them slowly, perfectly legato and keeping the same tone color when the octave changes.
Be sure to play the large intervals by changing the air speed, rather than moving your lips or your jaw.
Work most where there is the greatest need, for example, the intervals to F# and G# of the third octave, which are difficult notes on any piccolo.
In my opinion, slow, patient and methodical work on all the technical facets of the instrument is necessary to achieve flexibility of sound.

On so nimble an instrument as the piccolo, it is always tempting to practice music that primarily contains many notes at a high speed.
While this does have value at a later stage once you have built a foundation, at the start, it is far more benefical to to work slowly and carefully, always analyzing and judging exactly what we are doing - in order to improve it.
Sometimes we don’t really notice when our legato is not perfect or if a register is not in tune.
In order to obtain the best results, we must combine doing an exercise with observing it, while trying to eliminate the faults we perceive.
We can reach only reach perfection - and maintain our ability -
through slow practice. This holds for beginners, intermediate, advanced and even professional players!