Sir James Galway Masterclass - Embouchure, Good Tone — Transcript

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1. 0:08This this flute is the one that I was
2. 0:10playing yesterday until I got my new
3. 0:12one. So, I didn't clean it. So, you can
4. 0:14see the imprint of where I blow and
5. 0:16where I spit.
6. 0:21Can you get this mark?
7. 0:26I can't see that.
8. 0:30Now, you see you see there's a mark
9. 0:32there.
10. 0:34Here.
11. 0:38That's how much I cover the flute.
12. 0:42You see now everybody says, "Oh, you
13. 0:44have to roll out, you know, to get a
14. 0:45good sound." Well, this is a
15. 0:47old crock. I don't roll out and neither
16. 0:50does William Bennett. We blow right into
17. 0:52the flute and man, do we make a racket.
18. 0:57You take bottom lip, put it up over the
19. 0:59top lip like this.
20. 1:06And you blow straight across.
21. 1:12And then you organize it a little bit
22. 1:14better.
23. 1:21And then you think, "Oh, the top note is
24. 1:23flat, but the top note is not flat.
25. 1:26Bottom note is sharp."
26. 1:28So, you should blow a little bit more
27. 1:30in. Where does this theory of blowing in
28. 1:32to the flute come from? This.
29. 1:42Now, you can see when when I play that
30. 1:44my lips are not taken away from the
31. 1:46flute in the typical style like this.
32. 1:53Right? They're right on it.
33. 2:03And already I'm learning something about
34. 2:05flexibility because to make this octave
35. 2:08you have to change. You can't just blow
36. 2:11harder to get an octave. That's not what
37. 2:13you do at all.
38. 2:15You redirect the air.
39. 2:22And you go more onto the flute. Can you
40. 2:25see this mark?
41. 2:35Now you realize when you can do that
42. 2:38on the head joint, as soon as you put it
43. 2:40on the flute, playing octaves is not
44. 2:43such a big problem anymore.
45. 2:45And getting the note in the right place
46. 2:47is not a problem anymore.
47. 2:50And therefore, the intonation on the
48. 2:53flute
49. 2:55becomes more manageable
50. 2:57because you're more flexible and you
51. 2:59practice this
52. 3:01flexibility.
53. 3:03If you see what I mean.
54. 3:05All right?
55. 3:07Here it is.
56. 3:29Now this takes some time. I think it
57. 3:31took me about a month before I could
58. 3:33figure this out.
59. 3:34Before it really worked for me. And my
60. 3:37old teacher Muriel, she said, "Now don't
61. 3:39play anything. Just do that every day."
62. 3:41Like I was going to do that every day. I
63. 3:42was
64. 3:43I was supposed to play the Carnival of
65. 3:45Venice variations, you know.
66. 3:48Like every normal kid, you know.
67. 3:51And uh,
68. 3:53of course when she wasn't watching, I'd
69. 3:54have a go at that.
70. 3:57And then my dad would come home from
71. 3:58work and I'd be back to
72. 4:04You see, but this
73. 4:06this simple exercise, in fact, stood me
74. 4:09in good stead throughout my whole life
75. 4:11because I never had a problem with my
76. 4:13embouchure and I could play most flutes
77. 4:18that I ever owned very well.