copland vocalise

georgia · Post by **georgia** » Sun Sep 17, 2006 7:00 am

has anyone played this ??

1. should i keep the quavers in the scale runs (!) vibrato free
2. any tips for playing bottom e flat to very top b flat - on a slur !!!

thanks
georgie

georgia · Post by **georgia** » Sun Sep 17, 2006 7:12 am

forget the first question, it sounds silly with vibrato, and much better without - help on the second question would be fabulous though - thanks

fluttiegurl · Post by **fluttiegurl** » Sun Sep 17, 2006 7:11 pm

Practice . . . . lots of practice . . .

No, I am not being sarcastic. One thing you can do is work on overtones to help build embouchure muscles. Start on a low E or E flat and change the pitch by tightening (NOT tensing) your embouchure. Actually, you will be making the hole (aperture) smaller. Doing this in front of a mirror may help as well. Also, use your stomache muscles to help the top note out a bit.

Practicing the slur over and over (then some more) even when you are not working on the piece will help as well. I tend to carry my flute with me around the house when I have days off and practice things like this. Drives the neighbor's dog crazy

!

fluteguy18 · Post by **fluteguy18** » Sun Sep 17, 2006 8:24 pm

yeah, whatever you do, dont tighten up your embouchure. tightening the embouchure will make everything harder. just make the aperture smaller. I think fluttiegirl meant her comment this way. I was just clarifying because tightening something usually means to add tension, but yet she said without tension. Just the way her comment was worded threw me off, so I thought (without trying to be rude), that I could make the comment more clear. So, just make your aperture smaller, without tightening your embouchure (one example: by pulling the corners into a smiley position.)

Also, to help the jump, move your airstream upward. When most people play low, the airstream is focused downward, and when playing high, they aim upward. You can also move your jaw forward when jumping up. This helps move your airstream.

georgia · Post by **georgia** » Mon Sep 18, 2006 7:05 am

thanks for that, the problem is mostly the fingering of it - i was hoping there would be an alternative fingering, but i don't think there is - i'll keep at it anyhow, thanks again

flutepicc06 · Post by **flutepicc06** » Mon Sep 18, 2006 9:13 am

I'm not familiar with the piece, but if you feel that they would not be noticed, harmonics are always an option to solve awkward fingerings. I was playing this leap last night, and had no problems with it, so it probably does just come down to practice (getting your finger onto the trill key is the problem, right?). There are several ways you could potential play a Bb3 using harmonics, but most of them do involve using a trill key. Still, if you think you could get away with it, it might be worth experimenting.

fluteguy18 · Post by **fluteguy18** » Mon Sep 18, 2006 10:41 am

one thing you could do to facilitate the movement to the trill key, is to just press it down with the side of your middle finger (practically leaning your finger, and sliding/ rolling over onto the trill key).

this is a trick that I do in recording sessions when I am playing in the lower octave, and need really smooth transitions to be rid of any mech. noises. I sort of cheat my fingerplacements (example if I have to go down to low E then to low C, i put my pinkie on both the D# spatula, and the C roller, and then lean off of the spatula as I put down my ring finger. Provides a very nice transition)

Dont depend on this all of the time though. Longterm it could lead to hand problems. I do these only when I have to.

georgia · Post by **georgia** » Mon Sep 18, 2006 3:08 pm

thanks fluteguy, i'll try that ................. it's a really difficult movement that e flat to high b flat, i'll have a really good go tomorrow and see if i can smooth the fingering out using your tips

much appreciated

MeLizzard · Post by **MeLizzard** » Mon Sep 18, 2006 8:49 pm

My brain isn't coming up with any trick fingerings for that one. As for the vibrato, you know this was originally written for singer, right? It was later transcribed, I think at Doriot Dwyer's request. I've played it, but it's been so long, it's kind of a fuzzy memory

. Think about how a singer would vocalize each phrase, and delicately shade each group of notes with variable vibrato. Maybe you could find a recording of a singer doing it?

georgia · Post by **georgia** » Wed Sep 20, 2006 12:14 am

no !!! i didn't know that melizzard, that's very interesting and throws a whole new slant on performance - thanks !!!! (i'm getting better with that fingering by the way !!)