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[Music] as a flutist and as a teacher I always try to come up with a warm-up that can be done in a reasonable amount of time because everyone is very busy these days but try to include all the basics that will help us get get done what we have to do so I really look back to the masters for what my warm-ups are going to include so I find that that the best way to start is with the Marceau Maurice half-step tone warm-ups which go he’s our grand papa a flute playing back there and good old Paris France and I think to this day I ask all my students to do these long tone warm-ups it’s almost like stretching for your instrument or a little bit of yoga or whatever so it’s a little bit of deep breathing and a nice solid sound when we do our tone warm-ups I like to go down first and I find that making sure that I have a really even sound and the low register is the best way to start so I’ll start on a C in the staff [Music] [Music] what I really want to achieve there is the right balance of fundamental sound and overtone as much as I can so then I’ll take it to the next level and I will use this same warm-up to work on having dynamic control and good pitch so I’ll have my tuner going on my music stand and I’ll do the same warm-up but I’ll do it with four different sounds in addition to changing the sound I will also maybe add vibrato as well if so if a student is working with a teacher I encourage them to use this warm-up to also work on their basic vibrato and making sure that it is balanced and has a really good sound so when I take that warm-up to the next level I will do what I call for tone a four tone warm-up and this is actually what I learned from my professor in graduate school Jeanne backs dresser this is her warmup that’s just Forte no vibrato then I’m going to repeat it play the same sound again and add a nice active easy vibrato the challenge there is to make sure that the vibrato is continuous and is independent of the finger movement between the notes the third sound is to play the same notes with a nice controlled piano dynamic watching that pitch [Music] [Laughter] and the fourth sound is to maintain that nice soft piano with a gentle organic sounding vibrato a little soft vibrato so if I have the time I will do this exercise certainly going down and going up using my tuner if I’ve got the time try to do that in about 10 minutes [Music] there’s another warm-up I like to do that’s also a sound warm-up again this comes from the grandpa pause of of woodwind playing from France this is actually from the famous opus Marcel taboo toe I studied with a student of his when I was in high school he was a chamber music coach of mine in Miami Florida his name was John de Lancie and he was principal oboist of the Philadelphia Orchestra and we would start rehearsals in high school doing a long tone on one note the long tone could be whatever you were able to do but what you need to do is remember to use numbers to increase the intensity of the sound so the warm-up could go you could start on one and go to as much as 10 or you could go from 1 and you could go maybe up to 6 take a breath and go six back to one and this works on controlling your sound and any intensity so I will do in my mind maybe a six count long tone going up starting from pianist mo going to fortissimo I will breathe and then I will do fortissimo back to pianist mo [Music] [Laughter] controlling this is can be quite difficult but it’s it really helps so much when you’re playing in an ensemble to have absolute control of your sound on one note to take this to the next level you can add vibrato and also and really go for the dynamics as well so I’m gonna go as soft as I can in the beginning to fortissimo I’m also going to start with no vibrato so what I’m starting on one I’m gonna start with no vibrato just the organic sound and as I crescendo I’m gonna start to include that vibrato and be have it become more intense until I’m at the top of the crescendo [Laughter] [Music] [Laughter] [Music] and if we can achieve this I feel like we as flutist can basically tell a story just on one note and that’s one of the most difficult things to do [Music] [Applause] in my last few minutes of doing a warm-up what I will also do is look to good old Paris France again for some good exercises the two gentlemen taffey nel and Gobert that wrote a complete method for flute and they have a lot of scale exercises that workout that are wonderful for working on air support and working for a really centered tone on every note out of their book I like to work on exercises 1 2 4 or 6 and those work on various skills exercise number one is well known by flutist but is a classic and it helps us work on a nice continuous airspeed the other thing we’re looking for is we want to make sure that every note we play on the flute even though we’re moving our fingers quickly is like a nice round pearl I make the analogy with my students that when they’re playing and exercise with a lot of fast notes that they want to make they want it to sound like they’re stringing a pearl and making a necklace and that every note is going to sound perfectly round so exercise number one [Music] [Music] [Music] the other thing I want to remember as I am sustaining a nice fast air through the tube I want to feel like I am blowing all the way to the end of the flute I also want my fingers to feel like they’re dancing just on top of that Airstream so the other thing we want to remember is to try to keep our fingers as low as we can to control that technique so that we can play very well [Music] you [Music] you

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