Help with Third Octave
Moderators: Classitar, pied_piper, Phineas
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concertpianist16
- Posts: 36
- Joined: Fri Dec 28, 2007 3:47 pm
- Location: Arlington, Washington
Help with Third Octave
I just got some music that goes into the third octave. I need some tips on hitting those notes. Anytime I try it just comes out as this windy airy sound.
I play:
Piano
Organ
Clarinet
Flute
Recorder
Penny Whistle
Harmonica
Jaw Harp
Cello
Violin
Guitar
Mandolin
Ukulele
Piano
Organ
Clarinet
Flute
Recorder
Penny Whistle
Harmonica
Jaw Harp
Cello
Violin
Guitar
Mandolin
Ukulele
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arabians207
- Posts: 36
- Joined: Wed Aug 08, 2007 7:10 pm
What has really helped me is doing long tones starting on a B (right above the staff) and going up chromatically until you don't know the notes anymore.
Also what helped me around third octave A/B/C (not much more above) was learning the notes above so like if I was having a hard time with A, learning how to play B/Bb helped.
Just practice them a lot. If you cannot get the note your trying, go down a note or two and go up chromatically.
Also what helped me around third octave A/B/C (not much more above) was learning the notes above so like if I was having a hard time with A, learning how to play B/Bb helped.
Just practice them a lot. If you cannot get the note your trying, go down a note or two and go up chromatically.
i wouldn't stand to long on long notes. if you have a problem, it helps to search a problem that is more difficult. long tones are the most easy way to produce sound (desisted from musical interpretation!).
i would suggest if you practice the third octave with flutter tongue, singing, singing + fluttertongue, double tongue, pp < ff > pp < ff etc. and control the intonation, fluttertongue + pp < ff > pp < ff etc. etc. etc. there are no limits in the combination.
f you have made this exercises, you can go back to to the long notes and will notice, that it became much easier.
the embouchure doesnt change in a week. sound production is such a difficult thing on the flute, because every tone is different on the flute, from flute to flute, from player to player and from day to day. Particularly the high octave uses a lot of different fingerings what makes it difficult, because the sound production doesnt no longer depends on the length of the tube, what includes compromises in the intonation, tone coulour and certainly in the embouchure.
james galway said, his lips are moving every time. but this movements are so small, that you can hardly see it as an audience. but this small movements are determining.
this subject can fill up books!
i would suggest if you practice the third octave with flutter tongue, singing, singing + fluttertongue, double tongue, pp < ff > pp < ff etc. and control the intonation, fluttertongue + pp < ff > pp < ff etc. etc. etc. there are no limits in the combination.
f you have made this exercises, you can go back to to the long notes and will notice, that it became much easier.
the embouchure doesnt change in a week. sound production is such a difficult thing on the flute, because every tone is different on the flute, from flute to flute, from player to player and from day to day. Particularly the high octave uses a lot of different fingerings what makes it difficult, because the sound production doesnt no longer depends on the length of the tube, what includes compromises in the intonation, tone coulour and certainly in the embouchure.
james galway said, his lips are moving every time. but this movements are so small, that you can hardly see it as an audience. but this small movements are determining.
this subject can fill up books!