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With Instructables you can share what you make with the world, and tap into an ever-growing community of creative experts. Before you start to cut the holes in the PVC piping, it is necessary to first plan out where you are going to cut the holes.
Logic indicates that anything, over time, will leach less fumes, not more (if that wopuld be the case). This is notated by a open note-head with a slash diagonally through the middle, and comprises the entire first page of this piece. These layered harmonics spreads intersperse the opening section of the piece, exploding from the rhythmic residual tones forming a foundation underneath.3 They are designed to build in intensity and as a way of reinforcing rhythm, copying the sounds of a train slowing down and halting to a stop. Flutter tonguing is marked as fltz over a mordent sign and is found only once, at the beginning of bar 21.
His published pieces are being recognised as today’s most contemporary flute music and is being performed and studied by teachers and students in many institutions. The Flute -The piece that I have chosen to analyse is The Great Train Race for flute and piano, written in 1993 by English composer Ian Clarke. Repertoire for the flute player in the 19th century emphasised a pure and sonorous tone as the fundamental approach to playing this instrument.
The jet whistle technique was first introduced in the suitably named Jet Whistle by Heitor Villa-Lobos in 1950, and henceforth more techniques were adopted. Bruno Bartolozzi was the forerunner in documenting contemporary techniques, writing New Sounds for Woodwind in 1967, and John Heiss has the first documented articles specifically for techniques in Multiple Stops for Flutes and Some Sonorities for Flute, Oboe, Clarinet, Bassoon in 1966 and 1968 respectively.2 Other publications include The Avant Garde Flute by Thomas Howell (1974), A Modern Guide to Fingerings on the Flute by James Pellerite and Special Effects for Flute by Sheridan Stokes and Richard Condon. The traditional conceptual limitations of this instrument exclude it from many of the innovations taking place in the musical fields of the avant-garde, jazz and rock…Many flutists want to play in these idioms and therefore I feel it necessary to find ways of developing the instrument’s inherent capabilities.
Everyone is different, and as a result, two individuals may have the same problem with two different results. To prevent complications you should always consult a doctor before starting an exercise program. At a master class in Boulder, Colorado, flutist Sir James Galway said, “There is no way you can get carpal-tunnel when playing the flute properly, unless you play sixteen hours a day”. Because of the number of musicians with carpal-tunnel not caused by playing music, people who believe they have it, should look at other aspects of their life for contributing factors. William Conable, professor of cello at Ohio State University School of Music developed body mapping.
Since the entire body is balanced over the feet, improper foot placement or weight distribution can cause muscle pain in your arms. When performing, many flutists shift their weight from one foot to another; this disrupts the body’s natural alignment. The knee can be in three different positions when you are standing: locked, balanced, and bent.
In marching band, most conductors require flutists to have their flute parallel to the ground. When performing, either standing or sitting, the flutist should drop the flute to where it feels comfortable. Undesirable pain in the arms can be caused by poor positioning of the shoulders, elbows, wrists, and fingers, due to the ergonomics of the flute. Pressing or hitting the keys too hard will not only cause damage to flute pads, but will also result in unnecessary hand pain. There are three major areas for the flutists to focus on to avoid arm pain: the upper body, the arms, and the lower body. Flutists who feel they need to show emotion through movement with the flute, will have more physical problems. A flutist who performs with her head slightly to the left and bent down, similar to a violinist, will have neck tension because the head is not resting effortlessly on the A.O.
If your neck tightens up when you play, or if your entire arm becomes numb, it is most likely that you are cutting off circulation to your arm through the shoulders.
If you are a flute player experiencing pain in your arms when you perform, read through this document to analyze how you perform, and to find bad techniques you may be exhibiting. Shape the outside of the flute with a plane, slowly removing layers of the wood until the flute is round. Tune the lowest note of the flute first by cutting off the bottom of the flute until the tone matches what you desire.
Sand the sides and the bottom of the flute by hand with 220-grit sandpaper to remove any nicks and scratches.
Polish the flute with melted beeswax for a final shine using soft cotton cloth, such as a cloth diaper.
Learn about making Native American wooden flutes with expert music training tips in this free online instrument instruction video clip.
Flutes have existed for many, many years and have been enjoyed by people with various backgrounds and lifestyles. We decided, seeing as one of our group members plays the flute, to make a flute out of PVC piping.
The sound being aimed for is the breathy noise of the flute left when a proper tone is purposefully not formed; Clarke says that “a conventional tone should not be striven for”1.
They are the result of short, increasingly energetic accents produced by very short huffs of air. It is probably the easiest and most commonly used contemporary technique used in the flute repertoire. He studied the instrument at the Guildhall School of Music in London, concurrently studying mathematics at Imperial College. His one and only CD Within is one the instrument world’s best sellers.1 Clarke has composed chamber works for solo, and piano and choir. It has been described as “a highly entertaining showpiece that sounds like its title…[that is] extremely popular with audiences and players alike”2. This essay will provide history on this composer, the development of extended techniques on the instrument, and descriptions of instructions for each of these techniques.
At the beginning of the 20th century, effects such as extremes in dynamics and various articulations began to be introduced, coinciding with the Impressionist era. Luciano Berio included dynamics, flutter tonguing and harmonics in Sequenza in 1958 and John Cage used singing and playing, key slaps and vibrato variants in Solo, alto flute and piccolo also in 1958. In 1975, Robert Dick published The Other Flute, the most significant and comprehensive book to date of contemporary techniques. If you have an improper or inadequate body map, your joints may be working harder than they need to. Some players may be able to perform effortlessly even with a bad body map, or improper posture.


Improper use of a computer keyboard or any repetitive motion at a job, such as sorting mail at a post office, can contribute to carpel-tunnel syndrome. If this excess tension is removed, the performer will be able to play better because they don’t have to concentrate on pain. Conable observed many of his own students and came to the conclusion that students who had a good perception of how their bodies work, had much more responsive and expressive tone.
When you perform, as well as when you simply stand, your weight should be equally dispersed on both feet. When playing the flute, your knees should rarely be in the locked position; instead they should be in the balanced position, occasionally drifting into the bent position. However, if the flutist drops his flute too much, greater than about thirty degrees, it will create tension in the shoulders and neck.
If your arms are relaxed then the blood can flow freely throughout your arms, and there is no unnecessary weight displacement. If blood flowing through the veins, muscle groups, or ligaments is cut off at the shoulders, the rest of the flutist’s arm will suffer. According to flutist Sylvia Greenfield, “You should have pianissimo fingers,” meaning your fingers should be close to the keys.
Flutists with poor finger positioning will not use the right-hand pinky, but rely instead on their stronger fingers; this can cause pain in the ring finger.
The right thumb can be used to push the flute out away from the body, so the lip plate can reach the mouth if needed. A flute with the offset G option has the G key set closer to the flutist, so there is no need to reach for it. Correct posture will reduce pain in your arms and wrists because the weight of the flute is not resting on the shoulders.
The flutist should never have to move his head or neck when performing; as soon as he has moved his head or lips, he has damaged his embouchure. If your head is properly balanced on your neck, then you will be able to bring your arms effortlessly up to your flute without pain. If the flutist can play effortlessly and painlessly then they will be able to perform at a much higher level than someone with pain.
If you find a remedy a problem that is causing pain, make sure you are not just creating a new problem. These drugs may temporarily make your arms feel better, but will not provide a lasting solution to your problem; instead, it will most likely create further damage. If flutists do not have enough air to support a phrase, they often adjust their embouchure to a position that could cause pain in the arms.
In general, slouching in a chair causes pain in the neck and shoulders; this pain intensifies when playing the flute.
A single slotted opening, often covered by a totem figure, creates the entire tone of the flute.
Use at least two coats---three if the flute is made of a soft wood (typical soft woods include pine and fir). The intricacies of instrument making require an understanding of the components of the instrument and how each piece produces its necessary tones and pitches. I also repose come out of the closet the Ellen Price Wood I MA to use and actually enquire apiece piece if it wishes to If you are interested in making flutes and plan to make respective one recomme wooden flute plans. After a little bit of research, we came up with a process that was fairly easy to follow and created a flute that didn't sound half bad!
The technique may also be explained as a slight ‘letting go’ and un-forming of the embouchure.2 Pushing the jaw and embouchure forward whilst narrowing the gap between the upper and lower teeth will also help.
Exact harmonic notes are written into the score, but the composer’s notes instruct the player not to attempt exact reproductions but to listen more for the effect and follow the dynamic and rhythmic shape. He also collaborates with composer and pianist Simon Painter who together under the title of ‘Dive Music’ compose, produce and perform music for film and television. Works such as Syrinx by Claude Debussy (1913) and Density 21.5 by Edgar Varese (1956) were a bridge between traditional playing pre 20th century and the new techniques that developed beyond 1950.
Since then there have been an array of composers using these techniques, including Earle Brown (Hodograph 1, 1959), Kazuo Fukushima (Mei, 1962), Richard Meale (Clouds Now and Then, 1973), Kryzstof Penderecki (Fonogrammi, 1974), and Larry Sitsky (The Fourteen Days of Bardo Thodol, 1979).1 The composers and flute players Rahsaan Roland Kirk and Maggi Payne were other extended technique experimentalists of note. As children we all had perfect body maps, but due to bad habits, most of us develop an improper concept of how certain parts of the body work. Many flutists could benefit from body mapping, the Alexander Technique, or a simple exercise program. When standing, a flutist’s weight should also be equally distributed on the arches of the feet. Experiment with each of the three positions while playing, to find a comfortable effortless place between the balanced and bent; this is how the knees should be while playing. It is a common misconception that your fingers end at your palm; but actually they extend to the wrists.
If your fingers are distanced from the keys, you will need to slap them down with fore to play quickly. Again, all fingers should be resting just above the keys, not only to prevent pain, but so that the fingers do not need to travel far to hit the keys. The center of the head is slightly below the ears, it is a point that should line up with the front of the spine. If a flutist must move your instrument to show beats, the movement should be so slight that it does not disrupt his embouchure.
First, turn your head all the way to the right and hold it for ten seconds; now to the left. Be sure to consult many resources before coming to a final decision; if your pain is severe, contact a professional doctor who specializes in physical therapy for musicians.
Flutists who hunch over when they play are shifting their weight to the front part of their body. Most flutes are tuned first using a template, then are adjusted by hand to ensure perfect pitch. Plan on placing the holes toward the top half of the flute; you don't need to space them down to the bottom. Those plans were posted on the master the predecessor WWW place Notes The steer joint contains the Quantz model wooden tuning slide which wooden flute plans.
Flutes have been made of many different metals, wood, plastic and even glass, and no matter what, they tend to sound very much alike.
Firstly by using a rolled ‘r’, with the tongue near the front of the hard palate of the mouth, right behind the teeth.
He regularly gives masterclasses mostly around Europe, in particular the Scottish International Flute Summer School, where I had the privilege of studying with him in 2006.


David Smith performed a work of Clarke’s called Zoom Tube in the woodwind finals of the BBC’s Youth Musician of the Year in 2008, which brought the most public attention to Clarke’s compositions.
The extended techniques used in this piece include residual tones, explosive harmonics, flutter tonguing, singing and playing, multiphonics, timbral trills, circular breathing, pitch variants and note bending.
Paul Hindemith is another notable composer of works for this instrument, and is also the author of a treatise on 12 tone technique and Neo-classicism. Elizabeth Koch in Contemporary techniques since 1950 provides a comprehensive list of pieces that include extended techniques. If a musician has pain in his wrists and understands how the wrists work from his body map, then the pain in wrists is being caused by another part of his body. When a flutist learns how his or her body works, they will enjoy playing because the pain is gone.
A flutist will only develop carpal-tunnel syndrome from playing the flute if there is unnecessary strain or tension to the body. The arch of your foot is created by the space between your heel and the ball of your foot; the toes are not considered part of the arch. If you play with locked knees while standing, there is a good chance that you will throw off your balance. On the other hand, the left elbow should not be so low that is rests against the chest; instead it should be a few inches away. When you hold up one of your arms, your pinky should be in line with the rest of the arm, not your thumb.
Depending on which keys are being used in a passage, the weight of the flute can be shifted from the right thumb to the left thumb. The place where the head connects with the spine is called the Atalanto-Occipital joint, or the A.O.
In particular, playing softly tends to cause tension in the neck, because it takes more concentration to play with food tone softly. If a flutist to continues to play while experiencing physical distress, permanent damage could ensue. When the body’s weight is shifted to the front part of the body, the head, neck, chest, and upper body absorb the entire weight of the flute.
On the other hand, standing or sitting too straight will also create pain because this position too, is unnatural. The hole chamber takes up the last half, with the second quarter being a solid space until you have formed half of the center circle.
Plans to Make a Wood From the bamboo forests of Asia to the plains of North United States the wooden flute glass has played an important ethnic purpose for people.
This is the least fatiguing way of the two, however it is not genetically possible for some people. He is acknowledged as one of the instruments world’s leading performers and composers and regularly gives performances of his own works all around the world. Further explanations of all these techniques, except for circular breathing, can be found in both Thomas Howell’s The avant-garde flute and Robert Dick’s The other flute. Playing the flute should be fun, and when hindered by arm pain, it takes the joy out of playing. A flutist with small wrists, which is a hereditary attribute, will have a greater chance of developing carpal-tunnel.
Rocking backward to the heel of your foot, and forward to the ball of your foot will disrupt your balance.
Shoulder tension also limits arm movement; when performing quick or fast passages, some flutists will tense up their shoulders. The right elbow should be placed where it feels comfortable, the forearm positioned at about a 45-degree angle from the flute. This should be natural, and when you are resting, your arms exist comfortably in this neutral state. The pressure that is applied to each finger will be carried up the hand and cause wrist pain. The flutist should be able to support the flutes weight with each hand separately, as well as both together. Second, move your head down so your chin touches your chest; then move your head back so that you are looking up towards the sky.
This is particularly a problem for flutists with bad eyesight, or those who have their music stands at an improper height; these musicians lean or hunch forward.
You perform not suffer to think as ane coiffe for me to cook group A flute for you or to use my plans if you.
Also remember that there are plastic home pipes designed to carry hot water and guaranteed for 50 years or so, so those should not emit any noxious element. The following includes instructions on how to achieve the particular technique and where it is found in The great train race. Since the body map was learned at birth and then modified later in life, it can be changed.
If your pain is serious, you should contact a physical therapist that works with musicians, so you do not damage your arm further.
If you wish to peruse the Alexander Technique as a possible solution, you should talk with a physical therapist that specializes in this area.
Find the correct foot placement in relation to your music by pointing your left foot towards the stand, and your right foot aligned slightly to the right, about thirty degrees.
This is an example of a forced technique, over time it can result in carpal-tunnel syndrome (discussed later).
If you continue to play the flute, and your pain is intensified, there may be a good change that the damage is permanent. A specialist will show you how to do the exercises properly to prevent possible complications. When the flutist brings the flute up to his mouth, the shoulder blades and the collarbone must move forward so the keys can be easily reached.
Inclusive attention is a state where you are aware of all your surroundings and your placement. If the flutist’s head is pushed out, or thrust forward, the air stream will be forced too far down to produce a good tone.
For example, when a performer with a correct body map is performing in front a full house, she is not only aware of the stage, the audience, and the music, but also how she is standing, and how her arms and the rest of her body are working together.



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