Lloyd Peter - Disertacion Sobre Técnica de La Flauta PDF

 

Larry Krantz Flute Pages - Lord Dissertation on Peter Lloyd - 2

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Chapter 2 Back to Main Index

PETER LLOYD BREATH Correct Use and Affect on Flute Performance  Performance Stance Inhalation  Suspension Inhalation Exhalation   Air Exhalation Air Pressure  Aperture  Air  Aperture  Air Direction Vocalization in the Mouth Cavity  Cavity Breath and Dynamics Breath and Intonation  Intonation Breath and Articulation Breath and Tone Color  Breathing Exercise to Increase Capacity

Correct Use and and Af fect on Flut e Performance Performance

Use of wind is the single most important aspect of flute playing. It touches many aspects of music-making besides the actual production of notes--such as dynamics, intonation, articulation, tone color, and vibrato production. Peter Lloyd's concern with this subject began with his teaching at Indiana. Before that, he had basically passed along ideas presented to him by others. "So much had been fed into me by the wonderful teachers that I had experienced, that I was really quite confused as to the way I was teaching." At Indiana, confronted with students who had basic problems, Lloyd had to come to terms with what was important. Coming out to Indiana, I was able to actually stop and try to crystalize all my teaching and my thoughts as to what was important and what wasn't. And I found so many things I did before that weren't all that necessary. And I sort of  re-thought things. And then I got onto the big breathing thought, which I think is the most important part of flute playing that there is. And I think it's the part that people don't address anywhere near enough.  Although teachers everywhere everywhere advocate "support," "support," Peter Lloyd believes believes that a well-directed, controlled wind supply is the key to achieving variety in one's flute playing. It's through the big breathing that you understand sonority and sound and what you can do with it. It's not just a question of volume...but [of] color, control of  pianissimo. It all comes from free breathing. So much of this stems from observing and understanding singing; how singers use their mouths, throats, and tongue, and the amount of air needed. Try singing a note and then playing it, using the same shape in your mouth. It tells you a lot about harmonics in sound. TOP TOP  Main Index Stance Without proper stance, full and free breathing is difficult. Slump Slumping ing forward, hunching the shoulders or raising them while taking a breath, and holding the arms either too close or too far from the body all make a relaxed, full breath an impossibility. Peter Lloyd advocates the "Gilbert stance." The Gilbert stance includes the following: (1) standing at least a flute's length away from the music stand, (2) placing the feet about twelve inches apart with the left foot forward and the right foot back, with the

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flutist's weight resting on the right foot, and (3) turning the body slightly to the right [at the waist] and keeping the elbows lifted a bit and held away from the body. Geoffrey Gilbert taught students to balance more on the right leg than the front, which keeps the flutist from hunching forward. Lloyd modifies this aspect. I think that one should balance oneself on both legs equally. I think weight needs to be strong on both legs, because otherwise tension comes in if you don't balance properly. Both agree that flutists should stand back from the music, which eliminates the temptation to raise the stand to head height [muffling the sound and looking ridiculous in performance--i.e., the headless flute player] or the temptation to crook the head down in order to see the stand, impeding the flow of aiir coming through the back of the throat. The latter is a problem even with advanced flutists. How short-sighted are you?...When you play those...notes, you're strangling them by [having your head] coming down. See what happens if you're really free and playing high--you'll be amazed. You'll like it. Peter Lloyd also advises a slight rotation at the waist, settling into a comfortable position facing toward the left. This relieves a great deal of tension in the left arm. What happens when you play directly in front of the music stand, you're pulling that left shoulder across and that is going to cause you muscular problems. If  you start trying to practice for long periods of time....and you've got any pain back there at all, as the years go by, it'll get worse.  Another problem with "band stance"--the stance"--the stance many flutists flutists learn in marching marching band--is the tendency to hold the elbows so high that they are almost parallel too the flute. This causes the wrists to become highly flexed and rigid, constricting the blood and oxygen flow to the fingers and inviting carpal tunnel syndrome due to the type of rapid, repetitive movements needed for flute playing. When you set up, be careful that the left arm isn't higher by too much. The left arm should be allowed to drop, under normal circumstances. If you're going to balance yourselves, I would suggest trying to balance the flute from the right hand first, onto the [left] shoulder. Then you hang the left hand off. [Then] come round to the right, to wherever your normal position is. This [indicates head, neck, shoulders] floats. You can float right around, you can go as far as it doesn't hurt. Don't go so far that you bring your shoulder in. [Now] you're totally relaxed without pressure on anything. Don't put that left arm up, if only for the reason that if you go too far, the only [other] way you can support the flute is by pushing it into your lip. And once you start that, you are bringing tension to [the embouchure]....the whole thing is as free and relaxed as can be. Then, when you're playing, think free wrists. Think relaxed wrists. If your wrists are relaxed, it's probable that the rest of your shoulders is pretty free. If you leave your left hand down [a bit], you're totally free. But if you raise that elbow two inches, you can feel the tension. Now, usually when that happens you've tightened the muscles here [indicates chest area and back area] and that interferes with your breathing. The whole

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thing adds up. The mirror is your best friend....It's going to be able to suggest, point things out. Your development is always in the practice room and the more mirror you use [the better]. [You'll see] problems of tension. If I tell you that you are moving, you don't believe me. Why should you? You can't see yourself. Seeing is believing, okay?  A stance problem that Peter Ll Lloyd oyd points out to many students is the tendency to move about a great deal while playing. This habit was a "pet peeve" with Geoffrey Gilbert, who felt that excessive body movements were "subconscious behaviors caused by not being sure of your ability to communicate expression in the sound." Lloyd feels strongly that too much "expressive" movement can displace the flute from the aperture hole, causing control problems and also constricting the breathing process. Generally...the more movement and tension, the more it affects the breathing and then it affects the projection. I don't think that anyone should be stock-still. Take a lesson from Monsieur Rampal. When he moves, all this is absolutely stable [indicates flute mouthpiece/ embouchure area]. He moves here [indicates waist]. You've got to keep the stability here [indicates embouchure]. That's the important thing. If I'm moving, I'm going to do it from my body and not from my head. I'm going to move there [indicates waist] because that will keep me stable here [indicates lip] and I think that's terribly important. Otherwise, you could drop this [flute headjoint] a bit and the sound will change. Displacing the embouchure is not the only problem of overly-expressive body movement. It also causes tension in the upper chest and shoulders, and control is considerably decreased. When considering the aforementioned instructions and admonitions, Lloyd cautions flutists against becoming over analytical. He feels that trying too hard to be correct in one's stance only results in tension, producing exactly the opposite result intended by his suggestions. Please try not to try. Stop thinking. Once you've gotten yourself set up well, try to relax and just play. The more tension that comes in from the brain, the harder  it's going to be. TOP  Main Index TOP Inhalation Breath control for flutists may be broken into the same basic steps as singers use: inhalation, suspension, and exhalation. Flutists must make use of every body cavity during all three steps, keeping inhalation and exhalation of breath unimpeded except at the lip. Keeping these cavities c avities open is crucial while playing. We fill up everything. You look at some of the good players--look at their [chest cavity] size....That's where the resonance is. It's enormous what they use there. It's a wonderfully well-kept secret that nobody tells you about. And that is resonance, and [it is] important to fill and open yourself--to make use of every little pocket of resonance you can find in your body. The throat and mouth cavities must also be held open, for free breathing. Open

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your throat. Drop the back of your tongue when you articulate and really feel the openness there, just like a singer has to. Imagine the air coming from low down. It's coming through an almost equal sort s ort of column, straight through the mouth and out into the flute. The big problem is that you get used to playing with the throat closed....The thing is to get used to opening. I know it's hard, because you've been playing for  five or ten years, and when you've got a particular habit it's very hard to change it. But I do think it's something you need to have. There's loads of sound in there, and you've just got to somehow say, "Right," and start to work at it. I'm truly certain I'm right about this. But I keep feeling defensive about trying to get people to open up and sing like that for the simple reason that so many teachers of international repute say you shouldn't breathe to that extent....But I think that actually you're missing out a tremendous amount as far as production of sound. Once the flutist's stance is relaxed and free and the body cavities are open, the flutist must take a full first breath. Controlled breathing has been a lifelong pursuit for Lloyd. I'm asthmatic. So all my life I've had to learn how to breathe....I breathe....I had to do something about breathing exercises for myself. Otherwise I would have been stuck to the bottom of the [professional flutist] pile. And I was too ambitious.  As do many other flutists, Lloyd advocates breathing "low." "low." The object is to think of  the lower rib cage as a bellows opening, sucking air through the open mouth and throat cavities and taking in the maximum amount. He also cites "back breathing" as a useful visualization for flutists. This concept, from William Kincaid, involves spreading the lower ribs away from the spinal column. You're losing color, losing sound, because you don't breathe low enough. [Breathe into] an enormous barrel--right down into your ribs. Fill all the way around the rib cage. Lloyd stresses that the first breath of any work is the most important, because it may be the only full breath the flutist is allowed for some time. Take the time to get a good first breath ....The point of filling up hugely at the beginning is so that, when you take a breath [later]...you're only topping up. You don't need to go all the way down...and re-start, because you've not often got time to do that. "Think of the Midsummer Night's Dream 'Scherzo'," he advises. Logically, the more breath one starts with, the more will be available to add to the shorter "topping up" breaths. In many playing situations flutists are tempted to take a fast first breath during the pickup beat before actual playing starts. This habit hearkens back to early band training in which students are taught to take a breath during the preparatory beat. Peter Lloyd advocates taking the first breath slowly. The logic is that with a slow relaxed intake, the flutist is able to stretch and get more air in than with a tense, quick breath. Don't breathe in fast when you have time. I said slowly. That doesn't mean too soon and freeze. You must always, with these big breaths, do everything in a rhythmic cycle with the music. A few years ago I did a class in Britain alongside

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a singer and I happened to know the woman who was running the thing, and I got her to give us a class on breathing....At the end of all that we came to the conclusion that the parallels are just about complete. The only thing different was that the singer said that they can't breathe as far as we can. And I know there are [flute] people who say don't breathe to your full capacity because you can't really start sound like that. That was from singers. But we can, pro-viding that you breathe rhythmically with the music. So never hold it. The whole thing is in a relaxed cycle.  A flutist who has enough breath is is much more relaxed than one who does does not and is panic-stricken about phrase. relaxation enables the secure flutist to take in morefinishing air evenawith shortThis intakes. Lloyd emphasizes that one must strive to relax, even when taking short breath intakes during a piece. Players tend to try to "make the phrase," rather than using spaces within the music to take several small "snifters" of air. Remember that we always use breathing to make music--we can't make music from the breaths we need. It's not only in order to get from the beginning of a long phrase to the end of a long phrase. And even if that's the case, you're going to get nervous sometimes and it's all going to go wrong. So, try to always make breathing part of the music. I think that's terribly, terribly important.257 Try to feel that all breathing has to be within phrasing....If you're going to be nervous [about the breath]...change the phrases accordingly....You accordingly....You have to anticipate....If  you're going to have a breathing problem, always anticipate it so you've got enough time to re-think your phrase. Never, never...let yourself get to the state whereby you think, "Oh, God, I've got to take a breath!" because then the music's gone.258 Whenever a breath occurs, Lloyd encourages players to take as much as they can, not just what they think they will need. When you've got a short phrase, take a big breath because usually it's leading somewhere else afterwards.259 Not only that, you get far more control of color  and dynamic with a full breath, however quietly you're playing and however short the phrase.260 This is a situation in which flutists often find themselves. A relatively short phrase with, say, a bar's rest before it, is followed by longer phrases that do not allow a full breath. Flutists who take only what they need for the first short phrase will find themselves without reserves as the music continues. Then, panic, tension, and restricted intake [because of tension] ensue. For practicing relaxed, full intake breaths, Lloyd advises using etudes. When you practice etudes, you've got a long, long way to go. It's quite easy to play through 2/3 of an etude very well indeed. It's the last third that gets harder  and harder, both from the breathing point and stamina point.261  An etude he finds finds particularly useful is the Paganini Perpetual Mobile. Mobile. Beginning with a full, relaxed breath, the flutist should play until they have used about half their breath. Then, they should stop, relax, fill again, and play until that breath is halfway gone; then repeat the process. You've got a lot of lines, miles and miles of [notes]. You can never let your  breath get down to the bottom, because you can never recover it....You must breathe earlier, and I say about halfway--unless of course, you can see the end

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and you know that you're going to make it. Then of course, you can go to the end.262 By practicing taking breaths before they are actually needed, flutists will have enough air to use for color, control, and projection. Plus, they will be more relaxed and confident because they (and the music) will not be at the mercy of their lung capacity. This practice converts easily into musical phrasing. Mostly, people tend to look at a phrase and say, "Oh, I've only got to get from there to there for the first phrase." And then [when they get to the second phrase] you think, "Oh my God, now what am I going to do?" And then you're sunk. You have to remember to...get ahead.263 For most of those sorts of  places [for instance]...a Bach sonata...try to find ways by which to breathe when you still have plenty of air in.264 TOP  TOP Main Index Suspension Relaxation and freedom from obstacle are the keys to free exhalation.  According to Peter Peter Lloyd, there should should be a cycle of breath breath intake and exhalation that is akin to normal breathing but on a larger scale. On a full breath, there is a moment of "setting" between inhaling and exhaling. There's a little way of thinking...which doesn't actually interrupt the rhythm...a rhythm...and nd that is to wait a hair's breadth of only a second before blowing. This is the thing Caratgé made me do--to try to find time. Just stop, be prepared, [make sure that] everything is ready. And then you release the sound. You don't hold your  breath. It's for a bare fraction of a second, not really holding. That way you're absolutely safe, because everything is there and ready, but you haven't held your breath long enough to let the muscles go tense and the breath to freeze....Once you learn how to do it, it's absolutely safe. Just release the air. Let it go. Don't try.265 The hyperventilation and dizziness experienced by so many beginning flute players seem to be a result of skipping this small step.266 TOP TOP  Main Index Exhalation  Air flow during exhalation should be unrestricted between the diaphragmatic/intercostal diaphragmatic/int ercostal region and the lip. The airstream should be steady and, above all, pushed out actively. "So many people have this problem of not being able to get the air to go."267 To practice free exhalation, Lloyd suggests starting without the flute. He often has a flutist take in a full breath and then simply blow it out, making the cheeks puff out and forming no embouchure at all. When they are sending out an unimpeded, active stream of air, he then has the flutist gradually make an embouchure--while keeping the exhalation at the same rate. [Blow] once without the flute and think how it feels, how free it is. See? Now you have something to hang onto. And if you control the airstream, the color and everything [else] comes through....You don't need to worry too much about the sound you're making. What you're trying to do is to make certain that your  breathing--the actual physical business of blowing through the flute--is free. I don't care about sound. Just breathe freely and then put the flute in the way....Once you've got the airstream going, then try to refine it.268

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 Again and again Peter Peter Lloyd stresses tthat hat free breathing is the basis of good flute playing. Let [the air] flow right through. Be totally free. The energy will start coming through. It's when you're holding back that the energy gets stuck. It doesn't want to come through. Whatever you're playing, you need loads and loads of energy and loads and loads of breath. Fill the sound, push it through, and you'll have the energy to get the music going.269 Several extra-musical points are worth mentioning in the context of stance and intake/exhalation of breath. One is that students will do one thing during practice time, or when concentrating on an etude, and another when they begin to play a solo work. This even happens during master-classes. As he told one performer, "One thing I notice [is] when you listen and look at me, you stand one way. When you play, you stand another! Try not to." 270  Another point is is diet. Caffeine in particular will cause players to tense tense up. "Are you a big coffee drinker? Keep off the caffeine." 271 "P.S.," he adds, "I live on it."272  Apart from flute flute practice, the best thing flutists flutists can do to help help their breat breathing hing is to exercise regularly. "What do you do for exercise?" is a question Lloyd often asks classes and individual flutists. While any exercise is positive, Peter Lloyd finds that swimming gets especially good results. "I know you breathe well when you swim.well Youtohave transfers fluteto."273 playing.Taking in deep, rhythmic breaths during swimming Keeping physically fit is, I think, very important. I was talking to one person recently who came to Manchester talking about various problems in the way [musicians] stand, and she said, "You must compare yourself to an athlete. You are musical athletes and you should treat your bodies in that way."274  Above all, Lloyd emphasizes emphasizes that the the breathing used during during flute playing should be natural and free-feeling. He asks flute teachers to "get [students] to understand as early as possible how desperately important it is to get it [proper breathing] done before they get into bad habits."275 As a guide, he recommends Angeleita Floyd's book, The Gilbert Legacy. Despite instructions and exercises, flutists should not become over-analytical about the process. Just one tiny thing about this breathing that's worrying me. I've read a lot of  articles in my years in America. A lot of people get so terribly involved with the complications of how--by reading--that we get terribly caught up in worrying about whether we're doing the right thing. I honestly believe that everything to do with teaching, everything to do with playing this thing [flute] should be as simple as possible ....Just breathe deep, fill yourself all the way up, stop way up here, fill it up, and blow it out. I don't think it's anything else. 276 TOP  Main Index TOP  Ai r Pr ess ur e William Kincaid defined two parts to what he termed "support"--"volume" and "intensity." Volume was the sheer quantity of air sent to the lip, and intensity was the "supported pressure of focused air" that left the lip opening.277 Geoffrey Gilbert made a similar distinction in what he termed "breath pressure." He used the term "flow" for the quantity of air sent to the lip and "pressure" for

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its velocity when leaving the lip.278 Peter Lloyd's terminology is closer to that of  Geoffrey Gilbert, using "air flow" to define volume of air and "air speed" s peed" to define velocity of the air as it leaves the aperture. These two factors combine to create "air pressure." A steady, active airstream is imperative to well-controlled flute playing. TOP  TOP Main Index  Ap ert ur e During inhalation, air flow is unimpeded. During exhalation it is also unimpeded--to the point of the lip. The aperture opening then refines both air  speed and direction. These refining factors affect areas of flute playing, such as dynamics, articulation, and tone color. We need more air pressure. You see, the faster the air stream the more chance we can control it, up to a point....If the pressure isn't there, then the air stream  just sort of flops flops all over the place place and you can't control control it at all.279 all.279 Just let the air through. Obviously some of you are going to say, "Oh, but if I do then it all falls out, doesn't it?" But where does it go? Out of your ears? You want to make sure that you get the pressure behind the lip. The lip holds the pressure. You don't try holding the pressure here [indicates throat area]. It's the pressure and the air speed coming through the lips that gets you projection; that makes the sound carry. So remember, the whole system really is think breathing and then just put it on your lip....You don't need a lot of tension. 280 Peter Lloyd cautions players to keep their air flowing vigorously even though the aperture opening is small. Even though it's small here [indicates aperture], don't hold in [your breath].  Again, it's all from there [indicates [indicates diaphragm/ intercostal area]. 281 It [flute sound] all stems from the freedom of the breathing through this small hole. 282 That "small hole" is the flute aperture. The embouchure controls the shape and size of the aperture hole, through which air passes from the flutist to the flute. This vital area is subject to wide variation among humans, and it is up to flutists to make the adjustments which will help them the most. For a good basic tone, it is important to find the largest part of the aperture and match it to the largest part of the flute's embouchure hole. This is true whether  the aperture is off to one side or in the middle of the mouth. Even now, many youngsters are told by well-meaning directors or teachers that they don't have the "right" mouth to play the flute and are put on other instruments. But an aperture either left or right of center is not "wrong," and it is easy to place the flute where the player will get just as good control as a player whose mouth opening is centered. Flutists are encouraged to start at one extreme end and slowly bring the flute across their lips from one end to the other, while watching themselves closely in a mirror. They should take note of the location of the flute when their tone sounds best. Gradually, watching in the mirror all the time, the flutist should narrow their field of movement until they have found the spot where their sound is best. Many flutists tend to pull their lips back in a tense smile in an attempt to control air speed and direction, especially in the flute's lowest octave.

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You know what happens when you pull your embouchure don't you? The shape of the hole, the aperture, suddenly goes from a nice little round something in the middle octave and high octave to a great big long flat thing at the bottom octave. So how on earth you expect to get air through the long thin thing into a small round [flute] hole, I don't know!283 Peter Lloyd cautions inexperienced flutists to avoid this habit before it becomes ingrained. "Make sure while you're at the formative stage [that you] don't fall into this terrible trap of pulling." 284 Too large of an embouchure hole causes an insubstantial sound, wasted air, and poor directional control.  A lot of these these things are logic....What logic....What you're trying trying to do is get air with as much control of speed into a small round hole. So what you've got to do with your lips is to find some way of getting it to that shape. It's going to be slightly smaller  than the [flute] hole. [And] that is really the principle of the thing. 285 Even with the best of apertures, rolling the flute too far in or out will affect a flutist's sound adversely. Again, individual flutists must deal with this aspect by finding the best spot for sound, much as before. Start by rolling out to an extreme degree; then slowly roll in (watching closely in a mirror the entire time). While watching closely, listen for the point at which the sound is best. When flutists have found the optimal position, they must then adjust the headjoint so that they can achieve this position without undue strain on their hand/wrist position.  Air is actively propelled propelled from the lungs by the diaphragm/intercostal diaphragm/intercostal area and sent unimpeded to the lip, where the stream is controlled; air direction is dictated by the lips and the position of the flute on the lip and chin. Although air  direction is split over and under the flute hole edge, some air must always be directed down into the flute--even in its highest register. "The airstream has got to be able to see the hole," as Peter Lloyd explains.286 TOP  TOP Main Index  Ai r Di rec ti on The flutist's physical makeup affects air direction. Flutists with very thin lips may have to placecover the flute lower of onthe theembouchure chin. Flutistshole withand verymay full lips may accidentally too much have to place the flute higher on the bottom lip. A slight overbite is actually an advantage, as air is naturally sent down into the flute. A slight underbite may be overcome by raising the flute higher on the chin or lip, but an extreme underbite is the one physical aspect (outside of injury or missing body parts) that may prevent a person from playing the flute. With an extreme underbite, the flutist finds it impossible to get enough air down into the flute and the result is an airy, uncontrolled sound--especially in the lower registers. Flutists whose chins are that far back are going to find it easier to push the air  straight down into the flute's open hole. If the chin comes out too far, then you have to come higher on your lip and blow across, and I think that's really very important.287  A common problem problem with air direction direction is that when when flutists are told told to aim low for  low notes and high for high notes, they aim too high for the third register. This causes more of a shriek than a tone and a very sharp third register. This does not need to occur, Lloyd stresses. He advocates aiming the airstream farther 

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down, thus keeping one's tone and one's intonation from straying too far from the other octaves. Remember, don't aim at high notes somewhere up to smash the light bulbs. You sit up, and blow down into them as easily as you possibly can. They're easy to sit on top [of] and blow down into. You're already set up. 288  And again, during a masterclass warmup: warmup: I think I'm hearing that some people are forgetting what we said yesterday about trying to play the high extremity notes down. I'm hearing one or two squealing rabbits. The upper notes--even when we're playing high D [D4]--[one must] keep the head up and play down. I do promise you they'll be easier. I really do promise you.289 Visualization can help, as when flutists feel they are on top of a high note, like a puppeteer manipulating a puppet. When flutists feel in control, they relax, stop straining, and stop aiming the air too high. When you play high...don't see it up there. you're up there. You look down and play down. In other words, try to keep high and blow down.... [High notes] are only difficult when our tendency is to start to try to squeeze up to them. Keep high, keep free, and use your breath. 290 The upper register does require more air pressure, but again, some flutists overdo. "Be careful you don't waste breath because you think top notes are more difficult. They're not more difficult....Don't waste breath on them."291 Peter Lloyd stresses that control of air and free breathing are paramount to many aspects of flute playing. What is support? The word support is a curious one. I think what we need to think is what is projection? You've got to project color and you've got to project sound. How do you do that? What is that? What makes projection? Even when you're playing pianissimo or changing your color, what...is it all about? It's very simple. It's the most important thing in flute playing--in wind playing--in string playing--in singing. Breathing. To [breathe] low, to feel that the sound of  everything you do comes from...right down there [indicates intercostals], so that you fill up like a tank. And no matter how short your phrase is or how long your  phrase is, breathe as big as you possibly can. Because by doing so, you're opening your own top here [indicates chest cavity], dropping the back of the tongue, opening the sound, so that you can sing big. You can't sing color--whatever color you're using--unless you've got that huge amount of air there on which to control it. Even...when we have to play three p's or three f's, it's the breathing--the huge, free breathing--that controls this.292 TOP  TOP Main Index Vocalization Vocaliza tion in the Mouth Cavity It has been pointed out that all the body cavities--chest, throat, and mouth--should be as open as possible to allow a steady uninterrupted flow of air  from the diaphragm/ intercostal area to the lip. There are two obstacles in the mouth cavity that can obstruct air flow. One is closing the jaw. Peter Lloyd advocates dropping the jaw to open this area. As he instructed during a Masterclass, "Yawn....You "Yawn....You can feel the openness, and that's what you need. Go on, you can yawn. Yawning is that feeling--it really is that open."293

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The idea of singing is also important. "If you sing a note, you drop the back of  your tongue, and I think keeping the back of the tongue low is the most important thing."294 The other obstacle is the back of the tongue, which is often raised. Lloyd is adamant about keeping the back of the tongue lowered. Yawning helps this along, as does vowel vocalization. This hearkens back to William Kincaid, who advocated yawning to open the mouth cavity. His student, John Krell, advised flutists to experiment with vowel sounds to "modulate tone."295 Vocalization of various vowel sounds can change the shape of the mouth cavity. This in turn changes the airflow to the lip and affects flute tone color and projection. Peter Lloyd discourages those vowel sounds that tend to close the mouth cavity, such as "EEE" and long "A." Anyone saying these sounds will feel the back of the tongue raised and obstructing air flow. Flutists who tend to pull their lips back in a smile when playing are usually vocalizing on an "EE". Vocalization is a key to curing the smile embouchure, as it is all but impossible to keep the lips pulled back while dropping the jaw to open the mouth and vocalizing an "AWW" or even an "OH." Vocalization also helps avoid the common problem of noise during breath intake. I've always gotten people to open up the back of the throat....You can drop the tongue at the of your throat more....You breathe free. If you hear yourself  breathing withback [an inhaling sound], that's not much good because you're not only robbing color and sound, but you're also making it difficult for the air to come in. 296 Often Peter Lloyd will use the vocalization "AWWW" to help students open their mouth cavity. "Sing 'AWWW.' Can you project it through that window? Push it. Let it breathe....Make it a mezzo forte....Use lots of energy."297  And again: What's the vowel sound in your mouth? "AW." As if you're saying "AW." You've dropped the back of the tongue. Can you feel...that you're almost sitting on top of a balloon of air? A great big balloon? You know what happens with balloons when press them. The airstretched goes WHOOSH outWHOOSH there, doesn't want to do theyou same thing. Don't feel and tight. is all it? youYou need. 298 John Krell used the slightly different image of flute tone as a cork ball "supported in the air by a column of compressed air. Once suspended, it need only be supported by the breath."299  Again and again, Peter Lloyd urges st students udents to use vocalizations vocalizations as an aid to to a fuller sound: What's the vowel sound in your mouth? Can you think AWWW? Because it's big. You want to open this [indicates back of throat]. I'm still feeling it's a bit  ACK, and I want an AWW in the sound. 300  Another, more French-sounding syllable that that Lloyd uses is "EU." "EU." This has th the e effect of a pear shape inside the mouth cavity, larger at the back than at the front. "Think of something between EEE and OOO, then put them together," he suggests.

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 As an aid to keeping keeping the throat and mouth cavitie cavities s open, Lloyd uses the parallel of singing. "Always feel that you're singing," he advises.301 During a masterclass, he instructed: Can you actually imagine that you're singing? Can you feel the sound? Hear the sound? Do you feel it in your mouth? Can you make that position without actually singing it first--because it's difficult to go onto a platform to play a concert and start singing every note!....Try to imagine where that voice is before you start playing.302 Lloyd freely acknowledges not only a debt to singers, but to flutist Robert Dick in his thoughts about imaginary singing of flute sounds to set the throat open and pitch the note right. Robert Dick, however, goes farther. This is Robert Dick's idea, which I think is very valid. He taught people to sing the sound so that the sound would be sympathetic when you play the flute. You sing and play at the same time on the flute, and then take away the voice. I think he has something. There's quite definitely a sympathetic sound.303  At another time, time, Lloyd instructed students to get to a Robert Dick class. You must have all been at Robert Dick's, have you? Do if you can. It's very interesting what he says about the connection between singing and the sympathy that the shape of your mouth [is] for the sound [it)] gives on the flute. It works. If you have a bad note that won't work, sing it. Then play it. It honestly does make a difference. 304  A side effect of sending steady air air to the lips through through open cavities cavities is that the flutist's cheeks may puff out. "There's nothing wrong with having a bit of  freedom of air in the cheeks," Peter Lloyd says.305 TOP  TOP Main Index Breath and Dynamics The relationship of air speed and size of the flutist's aperture is crucial to developing a large palette of dynamics, using as great a range of harmonics as possible. Opening the body cavities to their fullest degree for best projection, sending a steady fast-moving column of air from the diaphragm/intercostal region to the lip, and using the lip to shape the column and send it down, mostly into the flute's embouchure hole, will assure the flutist a good mezzo-forte sound. Louder dynamics need a slightly larger embouchure hole and faster, deeper vibrato. Projection is achieved by keeping the body cavities [especially the mouth cavity] open. Don't try just belting hard, low octave sounds out. It sounds disgusting and has nothing to do with flute playing. Although that sort of sound does reach the conductor louder, the best sound is to put as much harmonic in that low register as you possibly can. Mix the low harmonic and the upper harmonic and it'll carry far, far better.306 Many flute students have difficulty playing softer dynamics. While it stands to reason that a large column of air and a large "sounding board" from the body cavities sound. would create a large sound, the opposite does not produce a good soft Most flutists reason that if a fast-flowing airspeed is required for louder  dynamics, then slower air flow is needed for softer dynamics. No amount of 

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flatness, dropped octaves, or throat tightening seems to deter flutists from this belief. Most flutists accept the "fact" that soft notes are hard to play and usually out of tune. Peter Lloyd teaches that soft notes are as accessible as loud ones, but the key is to keep the air column moving at almost the same speed as is needed for loud playing. The key is to send this air through a smaller aperture hole. This does not mean a tight or pulled-back embouchure, simply a smaller  hole. Lloyd advocates trying pianissimo notes from the third octave first, as a flutist's inclination is to use a fast column of air to play third octave notes. First, the flutist plays (mf) andand thenthe makes the aperture smaller smaller. All body remain open, air speed remainsopening constant. To theand player's surprise, thecavities dynamic level decreases without strain and without dropping the note, and the pitch remains constant. The following are several examples from masterclasses in which Lloyd encouraged players to produce a stress-free pianissimo. Can you get the air speed faster? And then resist more here [indicates lip]? The reason I say air speed [is] if the air speed is coming at all on the slow side and you're trying to control a pianissimo, you're going to try to hold it back here [indicates throat and top of chest], with the result that you can't project for one thing, and you cannot control it. It's air speed that you use to control not only pitch, but vibrato and color [as well]. 307 When you play pianissimo, it's still got to project down those stairs and out into the street, but it's not going to be loud. All right? So keep your embouchure as small as you can. As you come up into the middle octave, make very certain that you're not going to go flat. Keep pushing the air through....Now through....Now take a proper breath and do it....Fine. Now if you want to get more piano on that, close your lips. The lip hole is smaller, not the air stream slower. Now start mezzo forte and see if you can play an octave higher, piano....Now you've just got to hold it there. See, that's what projection is all about--just being able to blow through.308 What I'm finding is that the air stream isn't really always fast enough. And when you play piano, you're having pitch problems. And I think if you can keep your  energy going through with a smaller embouchure, then you...should keep it in [pitch]. 309 Try to feel that when you diminuendo, the embouchure itself is more flexible. As I say, in a perfect world we try to keep k eep the air speed as nearly the same as we possibly can, because that will keep the intonation and color. 310 [Play] once more and then diminuendo on the top B. Squeeze your lip. Try to squeeze your lip very, very slowly so that the embouchure gets smaller and smaller and smaller, because that's where you'll maintain that carrying-through there. Okay, now play that opening passage on that size embouchure. 311 Just take a big breath and make a small embouchure and relax everything. Drop everything. Drop your shoulders particularly. Then relax everything so that the rib cage wants to come down naturally and see if it'll give you enough air pressure on your lip. It should. 312 When you try to get the small embouchure at the top, start mf, get the color  really good--not sharp, get it right, and then just gently, as your lips close, then obviously the air stream's going to get smaller and smaller. But don't forget, it's

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not going to change its speed.313 Now...let's go right down to three p's....Try it without the flute. Relax everything so that the rib cage wants to come [down] naturally, and see if it'll give you some...air pressure on your lip. You can feel the size of the hole. If you get quite a sharp needle of air in your hand, it gives you some clue as to what's going on. 314 You're not going to need a huge push to get that sound out. The very fact of the rib cage being as open as it possibly can be, will give you enough pressure as it collapses to make the pianissimo sound. It's terribly terribly easy.315 Could you come down from a high note? Just get it free. See what happens then? Suddenly you feel the sound going through instead of being desperate to be quieter. 316  As you work in this this way, everything needs needs to be relaxed.317 Lloyd passed along this visualization from a student of his in Manchester: [The student] said, "Do you mean that [when] you have a bucket and you have a jug of water and you pour it slowly, it dribbles and the water fragments as it goes down? But if you pour it suddenly, it goes down whoosh in one lump?" And I thought that was a marvelous analogy. If you could see it [air stream], as it goes faster ....you can control it. Otherwise, if it goes slowly, because we're holding it here [indicates throat], then it's very difficult to control ....[So] in order to get small on the embouchure, practice from where it's very easy to be very small. Like, say, start practicing an octave higher--on a g[3] or something--and come down dramatically. Start off mf [and on] each note diminuendo right down to three p's on the D-sharp. Then start to play, and you'll find you've got far  more control. 318 Peter Lloyd practices what he preaches and has used the above exercise in his professional life. What I used to do playing Après Midi [d'un Faun] in the orchestra would be, while the [audience] noise was going on, while the conductor was trying to hush the crowds down in the auditorium, I'd be trying to touch top G's as quietly as I possibly could. Nobody would hear me. [I wanted] to get that embouchure small enough so that the first C-sharp was on a very, very small embouchure, so that no air would be wasted, because then you've got a little bit more flexibility of the phrase if you've got to do it in one breath....And then you can play musically.319 TOP  Main Index TOP Breath and Intonation Dynamics and intonation are closely related in flute playing. Often, when flutists are having problems with their dynamic palette, they are also having problems with pitch. This is because both aspects are so closely tied to air speed. The relationship between breath and intonation on the flute is quite simple. When the air stream increases in speed, pitch goes up. When the air stream decreases in speed, pitch goes down. Most flutists tend to play sharp in the upper register and flat in the lower. This stems from the belief that the upper  register needs a lot of air to "keep up" the notes, but that the lower octave needs less air because the notes are not being held up. The differences in air  speed show up as faulty intonation.

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In a perfect world we're trying to maintain air speed whether we play loud or  soft. The flute will give you its intonation wherever the makers have put the holes, if you treat it properly and keep an even air speed through it whether you play loud or soft. Then you can find out quite simply what notes on your  instrument are flat and what notes are sharp. But really we don't need all this business of pushing high and pushing low. Really, the more evenly--the more still [steady] you can stay, the better.320 Flutists should be especially careful not to let their air speed slow down during a diminuendo. This is a common error that causes pitch to go flat as the diminuendo continues. Instead, Peter Lloyd keeping airstream steady and gradually decreasing the size of advocates the aperture. In thisthe way, the dynamic gets softer, but the airstream [and thus the pitch] stays steady. Peter Lloyd encourages using the overtone series as an exercise for controlling air speed and air direction and as an aid to incorporating harmonics within one's tone.  A quick word on harmonics. harmonics. Practice harmonics harmonics from the bass, starting from the C and going through the harmonic series. I think that's a good thing because it helps put harmonics in tune within your natural sound. You've got to hear  harmonics in your sound. It's not very difficult.321 TOP  TOP Main Index Breath Brea th and A rticulation Often, flutists have various problems articulating. They may experience a change in tone color or pitch or have problems with the tongue seeming "too thick" or moving too slowly. Peter Lloyd feels that lack of a steady, pressurized column of air is the cause of many flutists' articulation problems. Geoffrey Gilbert, too, found that constant air pressure enables the tongue to move more freely, thus promoting cleaner articulation.322 For most flutists, shorter notes receive correspondingly less breath. The result is less sound for each note. Tone color suffers, intonation may go flat, and the moving tongue is overly apparent in the flutist's sound. Because of this correlation, Peter Lloyd strongly advocates that teachers omit articulation with their beginning students until they have developed good breathing habits and a good, solid flute tone. I think it's terribly important that you make absolutely certain that the color of  sound is stable--that the sound is strong, stable, and reliable....As far as I'm concerned, I don't teach students articulation at all until I am absolutely certain that the forte sound and the stability of sound is there....If you can wait that long, it takes all the difficulty out of the articulation, because the whole thing about articulation is sound. It's not so difficult to move the tongue. 323 Make sure that when you articulate, it's sound you're making. You can only articulate on the best possible sound. You can't articulate on a scrappy sound. 324 Lloyd learned during his lessons with Jean-Pierre Rampal that the key to good articulation is the not lip. in the tongue, in the diaphragm/ intercostal area--the area that pushes air to This was a but revelation to him. When I was [playing] the solo Bach [Partita in A Minor] he [Rampal] made me do the whole of the first movement on separate movements here [indicates

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diaphragm]--everything. And tongue forward. And...at the end...I was so exhausted [that] I asked him, "Do you y ou honestly do this every time?" And he said, "Oh, yes!" He said, "Whenever possible you use this [indicates diaphragm/ intercostal area] for articulation. Every single time....Use that....T that....That hat is the only way to give life to the sound."325 Rampal believed that articulation was a critical component of flute playing. Lloyd recounted Rampal saying, "Listen to articulation. The good player will separate himself from the rest of the others by the fact that he has life in the articulation."326 There are two main techniques used for flute single tonguing, differentiated by the placement of the tip of the tongue on areas of the mouth: "back" and "front" tonguing. In front tonguing, the tip of the tongue is at the front of the mouth. Usually, flutists can feel the bottom of the front teeth and part of the inside of the upper lip with the tip of their tongue. This way, a very small area at the tongue tip blocks the aperture opening like a cork. As the tongue tip is not reaching upwards, it is possible for the flutist to maintain an open mouth cavity. Since less of the tongue is moving, front tonguing tends to be faster. And as air can be backed up with some pressure behind the tongue tip and that air is directly adjacent to the flute's embouchure hole, front tonguing usually sounds clearer and more precise. In back tonguing, the tip of the tongue is set on the ridge of the upper palate. In order for the tongue to reach the upper palate, flutists using back tonguing must close their mouth cavity somewhat, robbing their sound of color and projection. It also tends to be less clear than front tonguing. Back tonguing has become identified with American flute players. Peter Lloyd believes that this technique developed because of a linguistic mistake. French flutists use front tonguing. In fact front tonguing is sometimes referred to as "French tonguing." In French flutist Marcel Moyse's widely studied flute books he uses the syllable "TU" as an articulation aid. Americans pronounce the "TU" syllable fairly far back in the mouth, whereas the French place that syllable much farther forward. Over time, this difference became two schools of  articulation. Gareth Morris's writings underscore the point of French pronunciation in articulation. He instructed beginning flutists to articulate by pronouncing TU "as in French".327 Geoffrey Gilbert has an entirely different opinion about the lack of crispness in articulation, particularly with American flutists. He felt that Americans tend to drop "t's" in their everyday speech--such as pronouncing "intermission" as "innermission"--or substitute the "t" with a softer "d"--such as pronouncing "Atlanta" as "Adlanna". This habit, he felt, translated into muddy articulation in flute playing.328 Peter Lloyd advocates front tonguing. Back tonguing is less clear because the air is being stopped halfway through the mouth, cutting the air speed considerably. Front tonguing brings everything--air, tongue, lip--to the same point (as close to the flute as possible). For these reasons Lloyd suggests that flutists who currently use back tonguing switch to front tonguing. "Logic is to get the tongue as close to the embouchure hole as possible."329

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Lloyd started playing flute using back tonguing. My own feelings about things started off as a wooden flute player, which was fairly gross. [Articulation] came from way back there, and it used to explode into the wooden flute with a fairly loud noise....Caratgé got me to [articulate on] DU, and the double tonguing was DU GU, and everything started from there.330 Lloyd believes that there is a positive relationship between French front articulation and embouchure production. If you say DU like a Frenchman, the tip of your tongue is between the teeth anyway, and DUGU brings your lips forward and the back of the tongue down. One of the big points of using the French vowel sound...is that it brings the embouchure away from pulling [i.e., into a smile embouchure].331 He also feels that the French reputation for fine flute articulation is tied to their language. The articulation they use is so much further forward so that they're made for it, it's easy for them. They don't have to think DU GU...it's part of their language. So that makes a difference. 332 Peter Lloyd cites the Suzuki method of teaching articulation as a very useful one. Flute students put a single piece of rice on the tip of their tongue and then spit the rice into a bowl. In this way, the student learns front tonguing, embouchure format formation, ion, and use of the diaphragm/intercostal region for pushing out breath simultaneously. The Suzuki articulation business...I think is a very good one. There's your bowl, and you're trying to get the kid to spit [a grain of rice] into the bowl. They've got to move here [indicates front of mouth] to get any kind of projection on that....And it also gets them to use this [intercostals] properly.333 The breath must be in the mouth cavity, under pressure, ready to emerge with proper speed, the moment the tip of the tongue moves away from the aperture. Thus, breath pressure is always ready. When you articulate on the flute, try not to "stab" notes like a hammer. Try to release them, more like a harpsichord, so that the pressure is still there waiting for you. It's much more accurate.334  A flutist switching switching from back to to front tonguing will probably be w wise ise to make the the switch over the summer. This is because of a side effect of learning to front tongue--excess saliva. Lloyd jokes that flutists making the switch from back to front tonguing will not have "dry mouth" during performances! The great thing about tonguing forward...is you've got loads and loads of saliva. The trouble with the tongue is, when you stick it in front of the mouth, it thinks it's going to get food or water. So you've got to slowly teach it. After about six weeks it dries up.335 Peter Lloyd says that Geoffrey Gilbert commented on this phenomenon as well. He said that you will gather spit at first, but it will go [away] as your mouth gets used to that [position]. You see, your poor old mouth as it comes forward, is expecting drink or food ....And the poor thing, it's got to be taught that it's not going to get food and drink.336 Double tonguing may also be done in front. The area of most difficultly for 

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flutists' double tonguing is the KA [or GU] syllable. That syllable is so much weaker than the more-used TU [or DU] that double tonguing emerges as DUguDUguDUgu. With your double tonguing, are you forward tonguing or are you TUCKA TUCKA-ing? Think of DU GU. Keep that syllable really forward--DU GU rather  than TUCKA TUCKA. Anybody who's really forward on the lip, fine....Try not to go "TUCKA". It nearly always means that the "KA" syllable will be less strong than any other, because it's so far back there's no air to help it through. 337 Lloyd stresses that the GU part of double tonguing be quite far back in the throat where the glottis is. Any other spot would cause the flute player to bring the tongue up, with the result of blocking the air. He advocates practicing this syllable on the lowest note a flutist can muster to make sure that the mouth cavity remains as open as possible, even while double tonguing. He also cautions flutists not to close the throat completely on the GU syllable completely. It might be useful to think "KHU" rather than GU. The main point with both syllables is to "keep the thing as light as you can."338 Whether a flutist uses front or back double tonguing, it is imperative that the back of the tongue stay as low as possible in the mouth during double tonguing on the GU syllable. You see, the more you bring that tongue up at the back of your mouth, the less quality of be sound going to have. Because obviously that resonating cavity needs to keptyou're open.339 [Rampal] made me do the GU, GU [very slowly] and then DehGehDehGeh [very slow double tonguing], to try to get those syllables exact. 340 Well worth practicing in the bath, you know, just with your voice and see how low you can get it. Because that's the problem I see so often--the double tonguing sounds so uneven. 341 Whatever method a flutist uses, the prime thing to remember is to keep the air  moving. You cannot do it [tongue] forward without being very aware of how free the breathing is. It's got to be absolutely free and full and with energy. Like everything in flute thinkthing that the whole forward tonguing thing... the seems to me to beplaying....I by far the best to do. Again, it's logic. The nearer tongue is to the flute hole, the less room for error. And as I say, make sure you're breathing really good, really free. Otherwise it just doesn't work. 342 With both single and double tonguing, many students' articulation is initially clear and then increasingly muddy. The tongue is a muscle, and stamina for  single and double tonguing must be built up. For this, Lloyd again recommends the Paganini Perpetual Mobile. How are your chops? Your lips? Tired? You know when you practice double d ouble tonguing, the big problem...is stamina. It's just being able to work right through that patch when everything hurts. And you start getting all tired and then you get tighter and tighter. The only way is to take something like Perpetual Mobile and... practice it in patches. Take the first third of it, then take the second third, than take the third third. And try to do it in sections.... every, say, three or four  days...try to get six or seven measures further than you did the previous time. The more you do it every day, the more your chops will get used to it. But to start with, don't go to far, as far as the pain is concerned c oncerned ....The ....The big problem with

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the articulation is the stamina, because we never do long enough stretches. And then all of a sudden something turns up in music in the orchestra or something and we think, "Oh, my God," and we get more and more tight. 343 Even the issue of stamina in tonguing is directly related to air speed. As Lloyd says: We get tired and the tongue gets more and more tight because there isn't enough airstream pushing through. Make sure the air is always pushing through to keep the tongue relaxed. You can do that without a flute and you'll see what happens.344 TOP  TOP Main Index Breath and Tone Color  Flute tone color changes by adding or subtracting harmonics to notes. Adding harmonics causes a darker, harsher sound. Subtracting them causes a hazy, indistinct sound. Changes may be made by manipulating air direction--down for  more harmonics, and across for fewer harmonics.  As with other aspects aspects of flute playing, playing, varying (or not varying) tone color must make musical sense. I think color changing has to be for a deliberate musical reason. It's not one of  those things where, when we go from one octave to another it's more convenient to go [makes blatting sound].345 Peter Lloyd stresses that with free breathing, open cavities, and control of air direction a flutist has greater control over tone color changes within any dynamic. This can be crucial when faced with something like the opening of Claude Debussy's Afternoon of a Faun, in which the flutist cannot waste any breath whatsoever, but must project through the orchestra to the back of the hall. "We need to find out how to keep that embouchure small enough so you've got enough breath in you to change color if you want to."346 I think one has to learn how to do one's technical exercises, particularly the slow stuff, in all different colors and all different dynamics. So you have to learn to control your colors using different dynamics. If you're making a very soft sound, you have to learn how to play louder without changing that color.347 Lloyd insists that control of harmonics [and thus flute tone colors] sets a flutist apart in auditions. When playing ascending octaves, he suggests: You need very little movement to move upwards. If anything, move the other  way. By doing that, by building more depth of lower harmonic in the sound, you're going to immediately attract [the panel's] attention, because nine players out of ten won't have it. It's like teaching. We're all told when we start playing that we've got to produce octaves all in the chin. And the reason for that is because we haven't been taught how to breathe! Now, when we're taught to breathe, we don't need to do that. But we're never taught not to. And I think that's one of the well-kept secrets of teaching. It's terribly terribly important to understand that once the air stream is controlled ...it doesn't need to do much more than hang on there with good air speed, and do the you rest hear of your singing your mouth, richness of blowing harmonic. When loud in the in middle octave,so it'syou not hear because you're harder, it's because you're trying to work into the low harmonics. Enlarge it that way--then everything works.348

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Because air direction affects tone color, tuning, and production of octaves in the flute, these aspects are interrelated. Peter Lloyd feels that most flutists overdo the admonition to blow down for the lowest octave and up for the highest. Besides causing the lower octave to be flat and the higher octave to be sharp, both octaves are robbed of a generally richer tone color. He advocates getting some of the lower harmonics into upper notes and some of the higher harmonics into lower notes. You see, what we're trying to do is...to get down into the octave harmonics more, so we get more low harmonic into the middle octave--because that's where volume comes from. It doesn't come from blasting....So always feel that you're blowing down in [proper] octaves...because I think it's very important for basic coloring.349 Make use of your sound. It's not really loud, but color.350 Lloyd encourages flute players to stretch their concept of tone colors to the limits of their capabilities. One of the problems is the old generalization that when you play loud you [should] play hard and dark, and when you play soft, you [should] play hollow. That's a load of rubbish. You've got to learn to do both. You need to know how to play dark in pianissimo and very light in a more forte sound.351 Caratgé, at one stage [when] we were talking about color, made me work on the extreme ranges of color. So I had to learn how to play pianissimo with a nasty, hard sound and how to play more forte--as forte as possible--on a very open sound. And it was a very useful exercise because if you can manage that, then obviously you've got all the colors in between.352  Although a good basic sound is highly desirable, Lloyd points points out that various various flute tone colors make the music more interesting. In reference to a particular  work, he advised: You play so beautifully, and I want in this instance to destroy your beauty. I want you to sound fuzzy. I know it sounds ridiculous, but you mustn't always play beautifully, because it gets boring. I don't care how incredible your sound is, nobody can sit there and listen to a particular quality of sound for a couple of hours at a time and stay sane. It becomes boring. Use as much variety and color [as possible].353 TOP  TOP Main Index Breathing Exerci se to Increase Capacity Capacity  As an asthmatic, Peter Lloyd has had to make use of every bit of air air available to him him in flute playing. He realized that he would have to increase his lung capacity if he were to compete with other flutists. I took a yoga exercise and adapted it for my own particular uses....Y uses....You ou sit relaxed in back of [a] chair [and] get the backside of you way back, so that you're totally relaxed. Now, all you've got to do after that is set your metronome for sixty, breathe in for four seconds, hold it for four seconds, breathe out for four seconds, hold it for four seconds, and repeat that cycle for fifteen minutes. Do that twice a day. You'll find it much easier in the evening when you're tired and your muscles are more relaxed than they are in the morning. Remember, it's got to go a full fifteen minutes for each. Now, all of you should find four seconds very easy. Those of you who don't, who have been breathing too shallowly and haven't been used to breathing deeply, drop back to three

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seconds. It's always the same--in for three, hold for three, out for three, hold for  three. Don't go to your absolute maximum [intake] because then you will be tense when you hold. Go to 5% or 10% at the top and bottom. Try to be totally relaxed. When four seconds is easy, then go to five seconds. You'll soon know when your heart rate starts to speed after ten minutes [and you think], "I don't think this is quite right." That's when you stop and go back to less. When your  heart and system tells you that it's easy [then] go up to five or six seconds. If it's not working and you're hyperventilating, go back ...otherwise you'll black out and that's not a good idea. Now, don't try to push yourself too fast. Do the full fifteen minutes on four, five, seven, whatever you do....I promise you this is not an exercise that you can learn in a week or two weeks or two months--it's a thing that you're looking forward to seeing what's going to happen to you in six months' time. It will not do you any good if you work at it for a month and then give it up and say, "Oh, I'm breathing better." You'll just collapse and have to start all over again. So you've got five seconds now. Maybe that's taken you two or three weeks. Maybe it's taken you a day. Go to six seconds, go on to seven seconds, go on to eight seconds--slowly increasing. When you get to nine seconds and you're finding that comfortable--and by this time you're finding out how easy it is to go to eight, nine, ten seconds--it's not so difficult when you've gotten that far, it's the early ones that are hard. When you get to nine seconds, start to simulate playing on the flute. For example, breathe in over four, then make an embouchure and blow out over  twenty-eight, thirty, thirty-five [seconds]--whatever [seconds]--whatever you like--and then hold it at the bottom for two [seconds] and repeat that over fifteen minutes. Now, when that's easy and you're feeling very comfortable and saying "Wow, this is great," you get the flute out and use that. Don't try desperately to make a nice sound. Use any old note in the middle octave and do the same thing. And go on and on and on as economically as you can. [Make] the embouchure very, very small to save [air] and it's stopping the sound here [indicates lip]. What you must not do is hold it down here [throat/chest]. You want to get that pressure. You don't want to play ppp, play normal. It's important to try to get the pressure behind [the lip]. And that's really about it. Now, I must repeat, you won't get anything out of this exercise unless you really do decide ....If you work hard at it, and don't think about what's happening next month, you'll find it'll make an enormous difference to the whole of your playing. If you've not heard this before, I think you ought to think about [doing] this. They're very good exercises. They've worked for me and made me able to play long phrases and have breath to spare.354 Hearkening back to exercise and flute playing, Lloyd said:  A very interesting thing happened in a masterclass. One of my lads is a very good swimmer, a very strong chap--he can do a full cycle of eighty seconds. In other words, twenty, twenty, twenty, twenty--and keep that going. Quite phenomenal. The point is you go as far as you can, with comfort.355 256 Masterclass notes, 6/13/95, Technique class. 257 Masterclass notes, 6/22/94, Morning class, with corrections from Additional taped notes, October, 1997.

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258 Masterclass notes, 6/14/94, Evening class. 259 Masterclass notes, 6/17/94, Morning class. 260 Additional taped notes, October 1997. 261 Masterclass notes 6/26/95, 6 P.M. 262 Masterclass notes, 6/26/94, 6 P.M. 263 Masterclass notes, 6/26/94, 6 P.M. 264 Ibid. 265 Masterclass notes, 6/15/95, Morning class. 266 Nancy Toff, The Flute Book (New York: Oxford University Press, 1996), 82. 267 Masterclass notes, 6/21/94, Morning class. 268 Masterclass notes, 6/21/94, Morning class. 269 Ibid. 270 Masterclass notes, 6/22/94, Morning class. 271 Masterclass notes, 10/29/94, Performer 5. 272 Additional taped notes, October, 1997. 273 Masterclass notes, 10/29/94, Performer 3. 274 Additional taped notes, February 1988. 275 Masterclass notes, 6/95, Class 9. 276 Masterclass notes, 6/24/94, Morning class. 277 John C. Krell, Kincaidiana, 2d ed. (Santa Clarita, California: The National Flute  Association, Inc., 1997), 9. 278 Floyd, 47. 279 Masterclass notes, 6/14/95, Technique class. 280 Masterclass notes, 6/20/94, Technique class. 281 Masterclass notes, 6/14/95, Technique class. 282 Masterclass notes, 6/95, Class 4. 283 Masterclass notes, 6/95, Class 9. 284 Ibid. 285 Ibid. 286 Masterclass notes, 6/95, Class 4. 287 Additional taped notes, October 1997. 288 Masterclass notes, 6/22/94, Technique class. 289 Masterclass notes, 6/23/94, Technique class. 290 Masterclass notes, 6/15/94, Technique class. 291 Masterclass notes, 6/17/95, Technique class. 292 Masterclass notes, 10/29/94, Performer 2. 293 Masterclass notes, 10/29/94, Performer 3. 294 Additional taped notes, October 1977. 295 Krell, 4. 296 Masterclass notes, 6/15/94, 5 P.M. 297 Masterclass notes, 6/21/94, Morning class. 298 Masterclass notes, 6/13/95, Evening class. 299 Krell, 3. 300 Masterclass notes, 10/29/94, Performer 5. 301 Masterclass notes, 6.13/95, Technique class. 302 Masterclass notes, 6/16/95, Technique class. 303 Masterclass notes, 6/24/94, Morning class. 304 Masterclass notes, 6/13/95, Technique class. 305 Masterclass notes 10/29/94, 5 P.M. 306 Additional taped notes, October, 1997. 307 Masterclass notes, 6/95, Class 2. 308 Masterclass notes, 10/29/94, Performer 6. 309 Masterclass notes, 6/16/94, Morning class. 310 Ibid. 311 Masterclass notes, 10/29/94, Performer 2. 312 Additional taped notes, October 1997. 313 Ibid. 314 Masterclass notes, 6/14/95, Technique class.

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315 Additional taped notes, October 1997. 316 Masterclass notes, 6/95, Class 2. 317 Additional taped notes, October 1997. 318 Masterclass notes, 6/95, Class 2. 319 Ibid. 320 Additional taped notes, October 1997. 321 Ibid. 322 Floyd, 104. 323 Masterclass notes, 6/16/94, 5 P.M. 324 Masterclass notes, 6/14/95, Morning class. 325 Masterclass notes, 6/16/94, 5 P.M. 326 Ibid. 327 Gareth Morris, Flute Technique (Oxford: Oxford University Press, 1991), 12. 328 Floyd, 103. 329 Masterclass notes, 6/22/93, Morning class. 330 Masterclass notes, 6/16/94, 5 P.M. 331 Ibid. 332 Ibid. 333 Masterclass notes, 6/95, Class 9. 334 Masterclass notes, 6/21/94, Evening class. 335 Masterclass notes, 6/22/94, Evening class. 336 Masterclass notes, 6/16/94, 5 P.M. 337 Masterclass notes, 6/15/95, Technique class. 338 Ibid. 339 Additional taped notes, October, 1997. 340 Masterclass notes, 6/15/95, Technique class. 341 Ibid. 342 Masterclass notes, 6/16/94, 5 P.M. 343 Masterclass notes, 6/23/94, Technique class. 344 Additional taped notes, February 1998. 345 Additional taped notes, October 1997. 346 Ibid. 347 Ibid. 348 Masterclass notes, 6/95, Class 7. 349 Masterclass notes, 6/15/94, Technique class. 350 Masterclass notes, 6/23/94, Evening class. 351 Masterclass notes, 6/14/95, Evening class. 352 Masterclass notes, 6/24/94, Morning class. 353 Masterclass notes, 6/22/94, Morning class. 354 Masterclass notes, all from 6/24/94, Technique class. 355 Additional taped notes, October 1997.ass. 268 Masterclass notes, 6/21/94, Morning class. 269 Ibid. 270 Masterclass no

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Chapter 3 3  Back to Main Index

PETER LLOYD EXPRESSION Historical Usage  Usage Production of Vibrato/Expression Vibrato Variation  Variation Vibrato and Musical Mood Vibrato and Dynamics  Dynamics Vibrato and National/Historical Styles In conclusion, Peter Lloyd says:

Historic al Usage Usage The term "expression" includes many components, including vibrato. French flutists often speak of playing expressively, but rarely mention vibrato except in a negative context. French flute players consider vibrato to be an integral component of tone production. Marcel Moyse was quoted as saying he never used vibrato, and yet it is clearly present on his recordings. Recordings as early as 1905 [Taffanel] reveal that French flutists did indeed use vibrato, but they would often only say that they played expressively. Peter Lloyd and Geoffrey Gilbert both use the term "expression" from having studied in France. According to Geoffrey Gilbert the term expression "more accurately describes the total content of sound, including volume and tone color, in which one's vibrato becomes part of the sound, not something one does to the sound." You know, there's this thing about the French where Geoffrey Gilbert said in talking to French flute players of the time, they never once spoke about vibrato. Never. And I mean when I had lessons with Moyse and with Caratgé too, vibrato was never  spoken about. Occasionally the thing mentioned was expression. However, the fine line between these two terms may become confusing. Therefore, for the purpose of this paper, the terms expression and vibrato will be interchangeable. Flutists generally agree that vibrato includes both diaphragmatic (intercostal muscles) and throat action, although different flutists may use more or less of either. P roducing pulsations in the air stream with these muscles causes regular fluctuations of pitch. Pulsations vary in speed and depth, according to the needs of the music. French vibrato, says Peter Lloyd, is more of a shimmer --a presence--rather than something layered on top of one's sound. French flutists identify the term "vibrato" with an exaggeerated "wah-wah" "wah-wah" that calls attention to itself as a separate component c omponent and is not incorporated into the flutist's overall sound. Marcel Moyse was especially adamant about "vibrato" as opposed to "expression." A flute seminar student of his was once asked to play a melody without vibrato. But when they played with a straight tone, Moyse exploded, "No! You are stupid! I said wizout vibrato--not wizout expression!" Peter Lloyd explains the difference: Moyse said to me at a lesson, "Never use vibrato except for musical reasons. But never play dead." And I think that t hat "never play dead" thing is in our language now, slightly different than his language in those days. Having understood what that means, it means that when you use vibrato, it is a positive, thought-out reasoning. reasoning. You use it because you think it. If you're just shimmering to keep color alive, then it's very, very light. So light that you hardly notice it. And I don't think that that is the same thing at all. It's not the same as vibrato. Vibrato is something that you consciously add. I think that's quite important. I think the worst thing we can do, as so many players do, is [to have] a continual wobble. It doesn't matter what on earth sort of music they're playing. It starts at 7:30

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at the beginning of their concert and it ends at 9:30 when they've finished their last piece. And nothing happens in between. And that has nothing to do with music. Whatever it was called, expression was exported from France, as more flute players studied with flutists at the Paris Conservatory of Music or with French flutists such as Marcel Moyse and Caratgé. English and German flutists resisted using vibrato the longest. Peter Lloyd believes that this had something to do with long-standing feuds among European countries. I don't know why Germany didn't. They left it [vibrato] out for a long lon g time....I think they were aware of it. It's my own sort of curious twisted mind that tells me that...there were [big wars] between... France and Germany. Maybe there was such an aversion ...to anything French in Germany that they...would not accept [it]. Curiously, it seems that vibrato followed the silver flute. Countries slow in adopting vibrato also tended to be slow in adopting the silver flute, keeping to the wooden flutes instead. The vibrato system as we know it didn't start until 1920 or so when Moyse M oyse was in the Opera. It really came out of that. Before that, it was a much shallower  shimmer....Now, I think that the important thing to remember is that styles change. It's like singers...you listen to singers of the 1920s and 1930s and it's...very hard for us to listen to it. Almost like hearing the old violinists who used slides, you know, and they're sliding all over the place in Bach and Beethoven--and of course it's not very acceptable now. I think we have to be very careful to remember that styles change. Nannygoat vibrato as such was accepted and was part and parcel of the way wind players, or rather flute players, played. But most winds at the time were totally vibrato-less--even the oboes. And so I think it wasn't really until Moyse started to say, "Look--why "L ook--why don't we play like singers?" The besst often had expression and were using their vibrato for expression.....I keep the [tone] alive by working from the dead end, not by reducing vibrato. I take it from playing dead and just moving up very slightly, because I believe that so much sostenuto playing gets ruined by vibrato....If you play a lovely [Bach] with no vibrato it's more beautiful than hearing this wretched thing wobbling up. Your generation and the generation you're teaching needs to be much more m ore aware of  what the possibilities of vibrato are. And again, to [paraphrase] Geoffrey Gilbert, he's saying it's the next generation that need to think about the way you use vibrato. I think of that as a very, very important point. Sometimes we don't want to get an intense sound going all the time--it's very boring. And unless we really [find] the possibilities, color possibilities, vibrato possibilities, expression posssibilities, we're going to go on producing recitals as they've been done for so long. And I think that is boring. TOP  TOP Main Index Production of Vibrato/Expression Peter Lloyd points out that vibrato, incorporated as part of the tone, warms the sound and is not obtrusive, whereas vibrato that is extraneous to the sound calls attention to itself as a separate entity and interrupts the flow of sound. As Marcel Moyse put it, "If you notice the vibrato when someone is playing, then it is too much. Too much vibrato and I think the flute is drunk." You need to know your flute because sometimes it's terribly easy to vibrate outside the sound. You've got a column of air, a column of sound, and [when] we always vibrate just inside we're warming up the color. But if it's outside [the sound], it's "wah-wah-wah." And the only way you can control that is by making sure your  airstream is absolutely free.

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Producing vibrato that is flexible and acting within the flute tone depends upon a free supply of air. We need to have that long line of free air. Get the speed. Then you have something to hold onto, to control. If you have tension up there [throat], you can't do it. Then [you'll] either...have the one speed you've learned, because that's y our natural speed, or else it's going to be impossible to control at different speeds. I'm absolutely certain that vibrato depends on the freedom of your breathing. People who have trouble with vibrato in my recent experience, have all had problems with the freedom of their playing....Now, if we can get back to thinking that when you breathe and blow, it's as simple as that. You've got something to hold onto, to grip...when you have an air speed that's natural and free, you can ga gain in control. We've talked about vibrato....you cannot control vibrato, or color, or anything else--unless that airstream is free. You can actually demonstrate that quite easily by lifting your shoulders. Play with your shhoulders high. You see....there's see....th ere's no projection. No freedom. You also can't control what you're trying to do with the vibrato. Now, drop your jaw, relax everything, and you suddenly find that things t hings just start to flow. Sound goes down the stairs and out in the street and you can do what you like with your vibrato, which is better. For out-of-control vibrato, Peter Lloyd agrees agrees with Geoffrey Gilbert that the flutist must start from the point of no vibrato and gradually add on, rather than trying to slow down a fast vibrato. Most vibrato woes, he has said, come from tightness in the throat area. Where is your vibrato?...It's catching there [indicates throat]. If it does, it's going to affect the sound. Play from there without any vibrato at all and just see what happens. This vibrato thing is a struggle sometimes. We struggle to make more sound and it doesn't work. If you find that you're not making enough sound and you're working hard, cut out the vibrato and let the sound go, then see what happens.  And then having settled on a non-vibrato sound sound which sounds good, try to vibrate fractionally on dead sound. Don't try ever to reduce the amount of vibrato you've got.  As far as vibrato depth, vibrato that that sounds "pointed" in instead stead of flowing is also indicative of tension and a less-than-free-flowing air stream. Lloyd's remedy is as follows: Sing. You open up and the air is free. The only reason it's getting spikey is because the air is getting chopped up. Open this up in here. I promise you it'll work. Or make them yawn. When vibrato is studied metronomically, a flutist may find it hard to break the habit of playing "beats" instead of allowing the vibrato to flow at its own pace. Peter Lloyd brings up the example of Dufresne, French flutist in the Orchestra National, who said "always vibrate across the beat." What he said was that when he was young, he heard so much vibrato going on, but it was always...rhythmic with the music and he said, "I didn't like that." So he said he started learning to vibrate always across the beat--like five over two, or seven over three. Something like that. So...you just never let your breath know what your fingers aare doing. What he was trying to do was to get that vibrato--well, he didn't call it vibrato--the general general expression, moving in the sound at a tempo that never fit the music that he was playing.  And then outside of that, we know know that [one] varies the depth of vibrato to suit the musical musical line as well. In other words, he was moving the sound within a dead sound to keep the sound alive. And it wasn't necessarily strictly in the tempo in which he was playing. Geoffrey Gilbert had a way of showing pupils what vibrato "against the beat" would sound and feel like. Geoffrey Gilbert used to do a marvelous demonstration where he would finger [the

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flute] for you [while you blew a note]. You'd just play a note, with the result that you didn't know what he was doing. And so you suddenly find this lovely line of sound all beautifully even, whether the intervals are up and down or whatever...they would just come out perfectly, simply because your air stream did not know what your fingers were doing. And I think that makes a lot of sense.  As pedagogical aids, aids, Peter Lloyd has several recommendations: recommendations: Moyse produces all the best things. Moyse's 24 Little Melodic Studies book can be used for really little kids. It's the most amazing book. You can make it as easy or as difficult as you need. On the other hand, why don't you invent your own melodies for  children, using the tunes that they like and they know? Any tunes that you have. Just help them enjoy what they're doing. TOP  Main Index TOP Vibrato Variation Variation in the speed and depth of vibrato widens the expressive choices available to flutists. There are few habits as distracting as a vibrato that never changes during a performance. Variation in vibrato can help shape a phrase, set a mood, intensify a dynamic, make a single note stand out among many, and help distinguish works of different eras and nations from one another. As James Galway put it, "Some people think vibrato should have a regular speed. Others clearly demonstrate that it should not." Just as life changes, musical moods change, and variation of vibrato is a large part of that expressive capability.  Although a flutist may have a natural natural vibrato, variation of of speed and depth must still be learned. I remember Geoffrey Gilbert saying everybody has a natural vibrato. Very V ery few people have a natural vibrato that's either at the right speed or is flexible. And so it's his contention that most people have to go back to the drawing board and start from playing absolutely straight and then playing with a metronomic system....and then when you get really re ally good at being able to control those, okay, then start doing three over two or five over two--in other words try to break it up a bit. Vibrato variation is especially helpful in shaping phrases. Generally, a phrase starts with less vibrato which then builds in intensity to the phrase's climax, rrelaxing elaxing afterwards to the end of the phrase. Iphrase think infrom a simplified need think [about] the intensity tops of phrases. phr If you as build there to way, there,we then youtocan work up...the of ases. the vibrato youa reach the top. If a phrase is going to rise, [you] can't start it with a lot of vibrato--a lot of depth of vibrato, or  even speed--because it takes away from the intensity of the top of the line. We've got to worrk towards something. You can't only work toward the top of a phrase with dynamic, of  getting louder. It's boring always to do the same. Vibrato, used carelessly, can also destroy the shape of a phrase. As Peter Lloyd pointed out in a masterclass: Can you be careful of your vibrato technique? You have vibrato on the first note and the last note, which I don't quite understand the logic for....because that changes the shape of the phrase, you see. Be very careful that it [vibrato] doesn't keep [being] insistent when you get to the ends of phrases. The beginnings of phrases, you can build up, maybe start a little bit gentle, a little bit more at the top of the line and then for heaven's sake lose it at the end of the phrase. Otherwise it's going to go wobble-wobble.

257

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One area of difficulty for flutists is the low register. Don't forget that the lower the notes, the deeper the vibrato sounds, because the harmonics are further apart in the sound. So as you go higher, vibrat vibrato o then becomes narrower, shallower. So when we go lower, we've got to deliberately make the vibrato more shallow. We have to watch that.

258

Vibrato variation, for whatever purpose, depends on air speed and freedom of the air flow. The most important thing to remember is the freedom in the air speed. Because if the air supply is not totally free, not totally relaxed in your body and your shoulders, there's no way you can control the vibrato. If you can imagine you've got a lump of  stone in the back of your throat, and you're trying to get your poor stream of air around it, it'll be virtually impossible to control it as it comes out. Being free really means keeping the shoulders dropped, filling yourself--learning yourself--learning to breathe br eathe properly all your life, and not just when you pick up the flute. I think this is probably the crucial point. In our [master] classes, I see them [performers] breathing much better when they pick up the flute...but then they stop playing and have a chat together, and you can see their shoulders moving again and the whole business becomes wrong w rong again. We have to learn how to fill properly and breathe properly all our lives. 259  An interesting point here here about the vibrato thing--when thing--when you use that vowel sound [EU] in your mouth and get the air stream going fast, you can control the depth of the vibrato much better. It starts to work. You can get it shallow. If you can imagine the singing energy...imagine that...you're singing with French vowel sounds...it's very easy to get.260 Do listen to a Frenchman talking, because an American or an Englishman trying to speak French--unless they've actually lived in the country--is not going go ing to be any help whatsover. And I really emphasize this. 261 Now you try to get that [vibrato] with one of our Anglo Saxon deep throat sounds, [and] it doesn't work so easily. It's much harder to control.

262

Vibrato control is air speed--and freedom. freedom. There you are. That's all. Easy, isn't it? A lot of us poor people who have problems with slow vibratos, all you've got to do is control the air speed and the color of the sound. It's not quite as easy as that, but that really is the fundamental.

263

I think [if] you...have a problem with only one vibrato speed, go to various rhythms, play them over, get your metronome going [and] change the speeds--even if you do them on the beats....And I'm absolutely certain that it's completely dependent on how freely you're breathing. If you're really free, then you've got proper air speed. And it's air speed that gives you something to hold onto, and then you can do things with it. If  [the air] is coming out slow, you're having to work hard [and] you can't do a thing.

264

The one vibrato "gimmick" that Peter Lloyd cautions flutists about is a technique commonly used in jazz called "sweetening." In that technique, a flutist starts with no vibrato and gradually adds it. This technique can be quite effective if used sparingly, he says, but too often flutists overuse it. We're doing this technique where you frequently start with a lack of vibrato and bring it in [later] for an emotional effect. Now, that's a wonderful gimmick from f rom time to time. If use itup....It's musically, it'll work. If along you use it as gimmick, don't. audience it'syou coming so easy to go and notalisten to what youThe you're 're doing [with]knows expression. It's too easy.

265

Never let your air stream know what your fingers are doing.

266

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TOP  Main Index TOP Vibrato and Musical Mood Vibrato can have as important a role in setting the mood of a particular work as tone color. By varying vibrato depth and speed, the flutist f lutist obtains much more variety in the range of moods and can change moods rapidly by using both tone color and vibrato variation. Peter Lloyd is aware of the mood to be conveyed and its attendant vibrato; often he tells a flutist that the best vibrato for a passage is almost none. The ideal vibrato for this opening is hardly anything [Ibert Concerto, second movement]. You see, the wider your vibrato, the more it's going to interfere with the pianissimo line. So really, a pianissimo line needs to be virtually non-vibrato, or else a French kind of shimmer.

267

In [the Ibert] we should be making a proper sound based on French vow vowel el sounds anyway, which will give us the French kind of shimmer naturally.

268

In other places, a phrase needs more. Okay, can you give us more?...it says agitato, doesn't it--an agitated feeling? So give us a faster vibrato. Give us a feeling of agitation in the pianissimo....A bit more scary.269 He encourages flutists to put everything into their sound and not try to lead the audience by body movement. Remember, when we play, imagine they're [the audience] all blind. And then you have to give your musicality, your expression in the piece, purely in what you do. 270 Many times inexperienced flutists are guilty of inappropriate vibrato for the mood of a work. Generally, the vibrato is too fast and deep--too exciting--for a work. An example would be a transcription of Saint-Saëns's "The Swan" from Carnival of the Animals. A fast, deep vibrato--or even a fast shallow vibrato--would make a ludicrous juxtaposition of mood. Yet, flutists continue to ignore the power of vibrato variation in regard to mood. TOP TOP  Main Index Vibrato and Dynamics Mood, dynamic, tone color, and vibrato all combine to make music interesting and alive. Vibrato and dynamics are especially tied together, because a deeper vibrato v ibrato in a softer sound may have the unfortunate characteristic of cutting into the tone, producing "nannygoat" or "pointy" vibrato that calls attention to itself and diverts attention from the music. Conversely, a shallow vibrato in a fortissimo passage may be lost in the tone and inaudible. Therefore, except for some special effects, vibrato speed/depth follows dynamic lines. Peter Lloyd maintains that vibrato can have the effect of intensifying sound so that it appears louder--without louder--without actually changing one's dynamic. In a masterclass, he encouraged a player dealing with a hairpin dynamic [a crescendo immediately followed by a decrescendo] to "crescendo with the vibrato; it's easier."271 Vibrato on a single note will call attention to that note, which is very useful in passages where the flute has a line which includes both melody and accompaniment. This type of  "vibrato shine" isHaving also often encouraged by Peter Lloyd Gilbert] in appoggiaturas. vibrato on the appoggiatura note[and and Geoffrey taking it off the resolution neatly solves the problem of emphasizing an appoggiatura without making a dynamic "bump."

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Lloyd also encourages changing vibrato depth with changes in tessitura. In I n this case, a change in the actual depth will cause the listener not to notice a difference in tessitura. If you're in the low register, because the harmonics are so much further apart, and you vibrate the same as you do in the top, you're going to have a whacking great motion of vibrato. You've got to, in the low [register] hardly move....Keep it very shallow in the low and then wider in the top and you'll find it'll come out about the 272

same.

Even with that advice, Lloyd warns the flutist not to do everything by rote. "Remember when you get louder you don't have to vibrate wider....It doesn't have to be like that, when it is not desirable."273 Peter Lloyd maintains that vibrato can change not only dynamic perceptions, but pitch perceptions. If you're playing piano and you've got a bad high note, and it's really exposed and it's sounding a little flat and you're feeling uncomfortable--don't uncomfortable--don't cut out ou t vibrato.274 TOP  TOP Main Index Vibrato and National/Histo National/Histo rical Styles There are two areas of style that Peter Lloyd raises when talking about vibrato variation [as well as color]: national styles and styles of different historical eras. In speaking of eras, he said: I am making a big thing of this now, because when we get to orchestral playing again, there's a similarity in playing orchestral music to playing sonatas and things. When style comes in, you're not going to play Brahms with a whacking great fat vibrato. It's not right....I think you've got to remember that when Brahms wrote that piece, vibrato was still thirty years away in the way that we think of it now. And it didn't really come in properly until the early 1920s ....I do think we have to think very carefully about the style of pieces we're playing. Any of you use Flute Talk? There was an article in there about the principal [flutist] in St. Louis. And he...believed that a little research, a little understanding of history was a good thing when you're trying to interpret different styles of music. Now I haven't seen that in print often, and I think it's fantastic. I absolutely go along with it.

275

If you know a little bit about classical style, then when you play a Mozart symphony,  just look back on that. Okay, I'm not suggesting suggesting that you don't use vibrato....However, I do think that we have to think a little bit about cutting out this wobble that happens with some people. It may be a fast wobble and it may be a slow wobble. But...we've got to learn the different speeds and the different depths according to the style of music we're playing. We're not going to play Mozart with the same sort of vibrato you're going to play [with on] Daphnis, or Brahms.276 I think we have to be very careful to remember that styles change. 277  Although he does not not advocate a complete absen absence ce of vibrato, Lloyd does advocate minimizing vibrato in Baroque and Classical works. Peter Lloyd feels that the tone color and vibrato style of a country's flutists is determined to some extent by their language. Everybody has a natural vibrato speed. It usually is connected with your language. If  your language is such that you use a great many deep vowels, as we do in England--Germans England--Ger mans too--you tend to find that their natural vibrato is on the slow side.278

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Have any of you tried singing French vowel sounds?... It's very easy to be very shallow and very fast in the vibrato. If you try to go fast and you've got a great big old  Anglo-Saxon "AWWWW," "AWWWW," it won't work....Now something in French music should be very "EU" and high. And the other thing is to keep the air speed free and fast. 279 One of his biggest complaints is attending recitals in which all the pieces--no matter the era or country--sound stylistically alike. I think that is very sad--a sad reflection on the way most people produce sound. You go to a flute recital by so-and-so and start on a Bach piece and finish with a Taffanel piece, and it still sounds exactly the same. "Flute recital by so-and-so--forget about the music." I think it's about time we all thought a little bit more about that--tone colors involved with French music, vibratos in French music or contemporary music. There's so much that's different!

280

I don't say you should play Baroque flute....On the other hand, I think it's totally wrong to put a good hard, rasping sound on a Loeillet sonata or a Couperin. We shouldn't do that. And we can go a long way toward taking the edge, taking that center out of  the sound to make colors that are much more appropriate.281 We're not going to play Bach with the same vibrato technique as we're going to play a French piece, which probably won't be the same as [a contemporary work].282 It's quite probable that they were written with different ideas in mind. I mean, the French are going to write differently than the Englishmen and all that. And so the way that they understand color and style is through their own language. And if you think of  that, you'll find that the sounds you produce through different vowel sounds of different languages will come out differently in the way you play, and I think that this is a very important thing to think of.

283

French music should be played with less actual dynamic, but with great intensity. Forte in French doesn't necessarily mean a great enormous American-E American-English nglish sort of  sound. When French players play forte, there's an intensity which comes tthrough hrough vibrato technique as much as anything.284 Peter Lloyd said that Geoffrey Gilbert told him that it was hard to play the French way in an English orchestra, and he had to revise his sound to match the large sound of the English 285

winds.

Speaking of a Gaubert sonata during a masterclass, Lloyd said: Even when he says fortissimo, we have to think of it as an energy. It's It 's a vibrato energy. Not a huge sound. Even now...listening to the French flute players that I've heard, they don't make a huge sound. They make an intensity. And in my lessons with both Rampal and Caratgé, it was always, "Not so loud, not so loud. Don't play so loud!" And then they would want the energy in the vibrato and coloring. And I really think that's totally different from what we do in other pieces, like a German piece or an American piece, where the color is different. 286 The following quotes are excerpts from a June 17, 1994, Masterclass in which Peter Lloyd addressed the question of styles. Although there is reference to national styles, he is speaking mainly of era styles. Since Baroque and Classical style will be addressed later, comments in this chapter will be brief. You look around the Baroque and what do you see and find? Different flutes and different styles in different cities all over Europe for the simple reason that they didn't have airplanes. [So] of course things were bound to be different from Mannheim to Copenhagen.

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If you can find your way into a Bach sonata, it is very much more obvious...if you try to feel these little subtleties of color. This is the big point that I think is hard, that we haven't got the type of color and the type of articulation on the modern flute that they had....They used different articulation letters of syllables in Paris than they did in Germany because of the language, which we've spoken about before in a rticulation in the twentieth century. And it was the same thing....How far do we go into Baroque style? Do we go as far as thinking about vibrato for example? If you're playing on a metal flute, it's very hard to keep an interesting color with no vibrato. You have to be very certain of what you're doing in order to make it sound decent, but it is possible. My whole attitude toward Baroque playing underwent a fundamental change when I heard Kiujken's Bach.... It's Baroque music, absolutely honest and straight-forward st raight-forward and fabulous. And I heard it and said, "Wow, listen to this! We've got to do something about this." [We don't] understand what all the bibliography papers...and dried bits of  paper with black bits on them...what t hem...what they actually mean. What I remember above all was his [Kiujken's] spontaneity. Listening to his recording of the Bach Partita, I then listened to another one taken off the radio of a live performance. This live performance was totally different in his phrasing of the first movement. Sounded totally spontaneous. Now, he's a genius--there's no doubt about that--he can play these things in a totally spontaneous way, because that's how it should be. I think we need to make this spontaneous point, because it's very difficult to make it sound good if you start marking into a part every little nuance and every little bit that you want to make a point of. I think you can do a certain amount, but if  we go on putting everything in, we're going to play what's there and then it's going to be boring again! You have to be free!287 There are so many rules that vary according to composer, even in as small an area as Paris and Versailles, that really what one has to learn is what one could not do. Working it from there--if you know what you can't do, you can be fairly free. I'm thinking in terms of p laying in the twentieth century.  As we go towards Classical, the lines lines become longer, wh whereas ereas of course in Baroque they are much smaller, more fragmented....I think that's the main thing to think about between Baroque and Classical, is the longer lines generally. Now getting on into the Romantic...somebody played a couple of those Boehm arrangements of Schubert lieder. Whoever it was started off with loads of vibrato on it, and we cut all that out and started rethinking all the phrases without it, and it sounded absolutely fabulous....Again, we have to refer back to the t he big sort of vibrato era of Moyse....If you imagine playing all the Demerssemens and the v variations ariations without vibrato, it's quite an interesting concept--and on old flutes, too....Now, what I'm interested to know is whether it's a characteristic of the flute itself that makes the possibility of playing flute without vibrato acceptable--whereas on our [metal] flute, unless it's very, very carefully handled, it sounds disgusting. Taffanel and Dorus and all those early Boehm people presumably had the style of keeping the sound alive without a whacking great lump in it. What it did above all was to show the pathos of the songs that had been written. Whereas if you use vibrato, you're tending to let the sun come out. And an awful lot of  those Schubert lieder don't want sunshine coming out, out, do they? Look at the variations on the old withered flower and comparing it to his withered love and all the rest of it. If we start st art that introduction with a lot of vibrato, it's a load of rubbish isn't it? If we listen to the accompaniment and listen to the chords in the accompaniment and see how it works, and then think about what the song is all about, we wouldn't use vibrato. We'd use dynamics that are so soft and so pathetic, that it might actually sound right.288

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TOP  Main Index TOP In conclus ion, Peter Peter Lloyd says: I think that [thinking about historical styles] is so important. Not enough people do it. I think it needs to be emphasized in every corner of the world, and on paper too. People do not study [it]. Generally students are just too lazy to learn it out. But it is important to understand. And I think nowadays, continuing from what Geoffrey [Gilbert] said about understanding vibrato as the generations go by, I think above all we have to think much more about style. 256 Masterclass notes, 10/29/94, Performer 4. 257 Masterclass notes, 10/29/94, Performer 1. 258 Masterclass notes, 6/95, Class 8. 259 Additional taped notes, October 1997. 260 Masterclass notes, 6/95, Class 2. 261 Additional taped notes, October 1997. 262 Masterclass notes, 6/95, Class 2. 263 Ibid. 264 Masterclass notes, 6/27/94, Morning class. 265 Ibid. 266 Additional taped notes, October 1997. 267 Masterclass notes, 6/14/95, Morning class. 268 Additional notes, February 1988. 269 Masterclass notes, 6/16/94, Evening class. 270 Masterclass notes, 10/29/94, Performer 5. 271 Masterclass notes, 6/95, Class 2. 272 Masterclass notes, 6/16/94, Morning class. 273 Masterclass notes, 6/95, Class 8. 274 Masterclass notes, 6/14/95, Evening class. 275 Masterclass notes, 6/14/95, Morning class. 276 Ibid. 277 Masterclass notes, 6/15/94, 5 P.M. 278 Masterclass notes, 6/14/95, Morning class. 279 Ibid. 280 Masterclass notes, 6/15/94, 5 P.M. 281 Ibid. 282 Masterclass notes, 10/29/94, Performer 1. 283 Ibid. 284 Masterclass notes, 6/21/94, Morning class. 285 Ibid. 286 Masterclass notes, 6/95, Class 2. 287 Additional taped notes, October 1997. 288 Ibid. 289 Additional taped notes, October 1997.

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Chapter 4 Back to Main Index

PETER LLOYD PLAYING BAROQUE AND CLASSICAL MUSIC ON TWENTIETH-CENTURY TWENTIE TH-CENTURY FLUTES FL UTES Tone Color  Dynamics Baroque Articulation Conventions  Conventions Baroque Tempi Baroque Music and Phrasing  Phrasing Baroque Music and Vibrato Re-editing Baroque Works  Works Baroque/Classical Ornamentation Writing Cadenzas in Baroque and Classical Era Works  Works Closing

 Although there there is a wealth wealth of Baroque Baroque and Classical Classical era flute repertoire repertoire for flutists flutists to explore, flutists today are caught in a quandary. Most flutists do not wish to continue playing seventeenth- and eighteenth-century music in a quasi-Romantic era style, as was the case before the "authentic" movement was intitated by Arnold Dolmetsch at the beginning of the twentieth century. But how authentically can Baroque and Classical music be played on a modern instrument? What areas should be followed strictly, and where may performers have some latitude? Most importantly, how can twentieth-century performers play this music correctly without having it sound like a museum piece instead of a musical work? No less a personality than James Galway has felt the intimidating force of playing Baroque and Classical music. As he puts it, "The temptation is to be correct to the point of inflexibility." Although "in the case of Baroque music, you do have to get inside that past world before you can make it actual to the present," he urges performers not to present the music "as a scholarly thesis." He feels that the overriding rule is to "carry its message to the audience whatever the musical conventions of the century in which it was written." Nancy Toff writes that the primary consideration is whether performers are introducing "anachronisms" into their musical presentations. She points out that of the five basic elements of music--rhythm, melody, harmony, dynamics, and tone color--the first three remain the same on any instrument. The last two, plus aarticulation, differences in phrasing, ornamentation, and cadenzas, are variable and are of great concern to modern flutists. These points are addressed in this chapter. TOP TOP  Main Index Tone Colo Colo r  Obviously, tone color has changed from the days of the wooden, one-keyed flute; metal flutes have a clearer, more strident tone. In the early twentieth century this was cause for some dismay among flutists who felt that the new metal flutes sounded harsh. Peter Lloyd does not advocate trying to copy a Baroque wooden flute sound on a twentieth-century metal instrument; however, he does feel that a change in tone color is desirable. We can't imitate the Baroque flute, so let's not try. On the other hand...we want to soften the color enough [to] take away the aggression of what we can do on the silver flute. On my own flute, I would take away a lot of the lower

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harmonics...and just play much softer. Particularly for Baroque works, Lloyd asks flutists to avoid using all the force capable on a modern instrument. Generally, cut out strength of color....I don't want to hear your enormous big, rich sound coming out of a Baroque sonata. Somehow--unless the pianist is terribly loud--I don't think it's appropriate, because I think the whole beauty now, for us, is that wwe can play these pieces very gently and very beautifully [and] in a completely different level of dynamic control. And I think we can on our flutes do [it] very well. In performance, Peter Lloyd suggests putting a Baroque or Classical work beside a work from another era, so that the differences in style and tone may be easily heard by an audience. TOP  Main Index TOP Dynamics When playing Baroque/Classical music on a modern flute, Lloyd asks flutists to narrow their dynamic range. When playing on a twentieth-century instrument, the temptation is to use all the resources of a twentieth-century instrument. This, he advises, should be avoided. I know that there are feelings that when we play these pieces on this [modern] flute that we need to play them according to what the flute does [but]...I think we can actually control dynamics much better... and my feeling is that piano is dolce and forte is rich, rather than loud and soft. The point of using tone color changes rather than volume to differentiate dynamics in Baroque and Classical era music is one that Peter Lloyd has made again and again. The following quotes are from various masterclasses: What are dynamic differences on the Baroque flute? You know the CPE Bach Solo Sonata [Sonata in A Minor]? You've noticed that he's going along [at a dynamic of] piano quite happily and all of a sudden he drops these great fortes. Well, he can't possibly mean that. But you hear people on modern flutes going "do, do, do, DAHHHH," and it just doesn't make any sense. And you think well, what does this mean? I don't think piano and forte meant the same thing. It didn't necessarily mean loud and soft. I think a lot of it meant gentle, peaceful [and] maybe just that little bit broader. And that way it starts to make  just a little bit bit more sense. sense. In CPE Bach...when it's piano, it's often dolce. If it's forte, it's rich. They hadn't the dynamic range....I think that's very important. If you look at practically all CPE Bach you find funny little dynamic changes that just don't make sense. I mean look at the Sonata in A Minor, super-piano for two notes and then super-forte. All that means [is] an enrichment of the sound--a change of color. The other example [besides] the CPE Bach is the G Major Concerto of Mozart. You think in terms of the last movement where you've got forte and piano--the fortes are only stresses. And I think that would make it sound right. Forte is "warm, rich" sometimes and not just loud. Think of "p" as "gentle" and "f" as "richer" when playing Baroque music on modern flute.

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Note lengths can also help differentiate dynamics in music of these periods.  Although he cautions against against making making it a general general rule, Lloyd suggests as an aid in some problematic areas, "Play...longer notes in the fortes and then shorten them in the lighter places." Flutists should keep in mind that dynamics of the time were terraced, which is perfectly possible on a modern flute. As a rule of thumb, Lloyd suggests that dynamics rise and fall with phrases [or sequences]. There's a very easy way of [dealing with]...any Baroque composer that tends to write in terraces. Go up with it. As your tessitura rises, crescendo crescendo.. It's a very nice thing to use if you've got a difficult piece to understand. It's a very easy way to get some idea of where lines are going to go. Of course, it's a generalization so there are of course exceptions. In conclusion, he stresses, "Try to emphasize that the difference in dynamics is mood, character, color, pathos, and all that as against the present day dynamic change in volume. TOP  Main Index TOP Baroque Articulation Conventions In general, for Baroque and Classical works, Peter Lloyd recommends slightly shorter note lengths than flutists tend to play on twentieth-century works. In many classes he has advised flutists to "let some light in" between notes. "It's all very slow and ponderous," he told one player. "You've got to let the light in!" After working with another player, he said, "You see, it gives the piece more air and light....Let it have space and light above all ....Think of it as more light in character [with] more lightness in the articulation." This does not mean that flutists should play with a choppy, "staccatissimo" articulation. This would be just as inappropriate. Baroque and Classical era texts tend to equate articulation on the flute with bowing strokes on a violin. In a comparison between the violin and the flute, it will be found that what the bow is to the violin the wind is to the flute and what the arm, governing the bow, is to the former--the tongue, governing the wind, is to the latter. The tongue is the means by which we give animation to the execution of the notes upon the flute. It is indispensable for musical articulation, and serves the same purpose as the bow-stroke upon the violin. Baroque and Classical musicians used a bewildering array of syllables, with an equally bewildering number of rules, to represent the various styles of articulation. Quantz lists extremely detailed instructions instructions for use of the following syllables: ti, di, ri, (and combinations combinations of those three), did'll, and tid'll. Tromlitz lists l ists thirteen rules, followed by their exceptions. He cites the following articulatio articulation n syllables: ta, da, ra, hat (or at). Other syllables in Baroque era tonguings included "tootle" and one for tonguing four notes, which was the British pronunciation of "territory." Peter Lloyd stops short of incorporating these on modern flute. I'm not suggesting that you use curious articulations articulations because I don't d on't think they work on this flute very easily. But I do think we can do quite a lot with...lengths of notes--they were generally a lot shorter--slow movements and such. There was

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much more life in them. With [forward tonguing] articulation technique there are a multitude of different positions on the lip that we can use to make different types of articulation. Maybe...modern flute [players] can cope with quite a lot of problems that we have [with Baroque articulations]. articulations].  As far as slurring slurring and tonguing notes, Baroque Baroque and Classical Classical musicians musicians left many decisions to the performer. Musicians of today find this a worrisome task. What is the "right" thing to do? So much is left unmarked in urtext editions, but overmarked in modern editions. Lloyd encourages flutists to use common sense in marking their own articulations and to "make use of the few original marks that are there." Using the flute sonatas of J.S. Bach as an example, he explained: What Bach did...was to put in a consistent slur and expect you to be consistent later on. If he put a slur on a phrase and did it [that phrase] again later on, he expected you to do it [the same articulation]. It was natural. If there are [written] slurs, use them as suggestions.... Peter Lloyd cautioned that the above statement is a generalization, and not always the case. It's [only] a suggestion. Difference, between one phrase and another even if  the phrases are exactly the same, will sometimes emphasize a point on the repeated phrase--especially if the phrase is repeated in a different key. Think of improvising as you go along. Try to be aware of what thee accompaniment's doing and see where the modulation is going. For guidance in marking one's own Baroque articu-lations, Lloyd suggests listening to present-day musicians who perform on one-keyed Baroque style flutes, particularly Barthold Kuijken. By listening to Baroque music specialists, modern flutists can get hints and ideas of their own. Although readings are encouraged, when it comes to actual playing, he says, "It's very difficult to read a treatise on something and understand how to perform it." When slur markings are added, Lloyd advises highlighting them, to bring out the smaller shapes of articulations within the larger phrases. For instance, during a series of paired slurs, he encouraged a flutist: When you see phrases like this, on the [slurred] pairs, lose the second notes more, so they don't slur into one another.  And again, The pairs of notes--I think you should make a little more of it. Lose the second of the two notes, so you don't get [sings a more connected verrsion]. Then when you get your [slurred] threes, there'll be a difference....I think these little things really are important, and I think that we can do it with this [modern] flute. It's hard on the flute to clear the ends of slurs ....The trouble with the flute is that it tends to go all over the slur unless we cut [i.e., shorten] the end of the [last] note [of the slur]. Peter Lloyd cites the second movement of Mozart's Concerto in G Major as an especially good example of small phrases adding up into a larger whole. One articulation flutists should avoid in Baroque-era music that is more acceptable in

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Classical-era music is a grouping of four where the first two notes are slurred and the second two are tongued. Often cited but rarely explained, Lloyd speculates that the rarity of this articulation had to do with the violins of the day. They very rarely used [sings slur two/tongue two] in those days. You'll find very few examples in the literature of that phrasing at all. One of the reasons [was] because for violin in those days, the bridge was much lower, and so the strings were therefore that much closer. Not only that, but the bow was much floppier  which also made things more difficult. And gut strings were not so hard. [So] it was much harder for them to play [this articulation]. It was much easier for them to play three slurred, one tongued or one tongued, three slurred or 512 groups of slurs in twos. Modern flutists using facsimiles must be careful that markings are not misunderstood. For instance, notes with vertical dashes over them may be interpreted as marcato. However, as Lloyd explains, these markings were meant to be staccato. "Originally they had vertical dashes, which are equivalent to dots, so it's half the note value."

513

TOP  Main Index TOP Baroqu e Tempi Tempi  Although Peter Peter Lloyd cautions cautions flutists flutists not to become become too worried about exact historical tempi, urges some attention to relative tempi between work, citing HanshePeter Schmitt's Bahrenreiter edition of J.S. Ba ch'smovements Bach's Partita in Ain a Minor: Look, it's very important to remember...that they say "with the accepted tradition" that one bar of Courante equals 1/2 a bar of Allemande... If that is 514

right, your Courante should have been quicker or your Allemande slower.

Peter Lloyd finds that modern flutists tend to take the slow movements of Baroque works too slowly in general. It seems to me that the slow movement needs to move....I won't expound upon how I believe these pieces should be played, but certainly the slow movements need to move onwards slightly.

515

Have a look at the Handel Sonata in E Minor. It [should] always dance. And we never hear it dance.

516

TOP TOP  Main Index Baroque Music and Phrasing Dynamics and articulation are not isolated issues in the performance of Baroque music on modern flute, but are related to bringing out phrasing. Peter Lloyd believes that the shapes of Baroque and Classical era phrases are muddled by over-Romanticizing these works--shaping phrases into long lines more suitable to later works. He feels that shaping smaller phrases within longer ones is more appropriate to the intimate nature of these works, many of which were written for private concerts or smaller chapels.phrases, Emphasizing markings and using dynamicpatrons' terracing highlight which articulation in turn shape larger areas. Try to think in terms of a long phrase that's built up of small units. You're not destroying the phrase. Make use of the small units to build the phrase. It's

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different. And then the difference in Classical music is [that] the phrase units are longer--not so small.

517

During a masterclass, he explained: I think you can be a lot freer....I think your peak [phrase climax] was absolutely absolutely right. But I think there are other little peaks. You see, I'm not going to tell you how to play this because I think there's 120 different ways of playing this. [But] I think it's important that you should get an idea of how freely you can play 518

this.

 Another component component of phrasing is meter. Peter Lloyd feels that performers of those days had much more freedom than modern performers usually take. Rather than playing along metronomically, he feels that soloists may (taking into consideration differences in national styles) use occasional luftpauses to let listeners (as well as the performer) take a breath. This is especially true at half and authentic cadence points. Lloyd urges performers to realize that there is time within phrasing; taking this time is a major component of shaping a phrase. It's like playing a slow movement of a Bach sonata [when] we hear these long, long lines that never seem to stop. It shouldn't be. The phrase should be a long phrase, but the pieces of it should be broken up more. And it's the same with all these pieces. Light is so important. Silences in music are probably 519

more important than noise. I think we should make mention of French style ...Blavet is somebody I think we need to watch very carefully, because he is the only person we know of who actually put in his own phrasing marks where you can take breaths. You [may] take so much time...that it's almost as though you're becoming totally spontaneous. spontaneo us. When the idea's over, it's like [dance] steps [being over]. I think in order to interpret the Blavet sonatas in the way he's implied, we need to take dancing lessons in French Baroque technique. It would give us a chance to understand why some of these very curious colors were put in there. He's--to my knowledge--the only person who did that. If we use that as an example and manage to play the Blavet sonatas as he's written, using those colors and doing them properly--you'll find some editions where they've been totally left out because obviously the editors don't understand--if we could do that, maybe that would influence the way we play Couperin, Rameau, and any of the 520

others. I think one of the things that we must remember remember in music, the most effective parts of music are the silences.

521

 Again, playing playing smaller phrase units units has much much to do with articulation, especially especially the idea of letting light between notes and between groups of slurs. This is not to say that a performer should play in a jerky, stop-and-start fashion. A luftpause may be taken without interrupting the overall line. One way that Lloyd has found to keep Baroque music moving even when using shorter phrases and periods of silences is to count in longer note divisions, especially in slow movements that use subdivision. If the performer would normally count eight beats to a bar, Lloyd advocates counting four--or even two. In that way musical lines seem to move forward, avoiding the stodginess often heard in even the most correct performances.

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Peter Lloyd feels that most modern-flute performers do not give the placements of  bar lines proper respect in Baroque era music. Bar lines were a relatively recent addition to music by the Baroque era, and he feels that much attention was paid to where the strong and weak beats were placed. By using longer Romantic era phrasings in these works, modern performers blur the intentions of the composer and lose some of the flavor of a work. A case in point is the J.S. Bach "Badinerie" movement of his Suite in B Minor, where the entire movement seems to be two beats off-center. I feel that you must use the first notes [of the Badinerie] as a pickup. So often you hear performances where the bar line's turned around and the shape of the tune really changes. But it isn't [sings tune with strong beats on second beat]. It's [sings tune with strong beats on first beat]. I think that's a much lighter, more elegant line. I think bar lines here are far more important than they are in other styles.

523

With another Baroque work, Lloyd advised: Bar lines, I think are important....If you start doing too much accent on the second beat, we've already upset the intent....Feel the lines, go toward the bar lines. You may think that it's going to sound all chopped up. It doesn't, because the line is right through it...let light into it.

524

In shaping smaller phrase units, appoggiaturas--also deserve more attention than theydissonances--especially are usually afforded by modern players. Peter Lloyd cautions that this is not a dynamic consideration. The word appoggiatura means to lean, not to attack. It is more a question of length. Try to have slightly longer appoggiaturas. Appoggiaturas are more important than what follows ...the appoggiatura is always the important note.

525

Lloyd adds a caveat to this statement, saying that the appoggiatura length may vary according to the mood and tempo of each work. We must remember the length of the appoggiatura is not determined by the piece. It can be a long one, a short one, or a mixed up sort of thing. Length is very much determined by the mood.

526

TOP  Main Index TOP Baroque Music and Vibrato It is a mistake to believe that vibrato was unknown to Baroque and Classical flutists. It was a special effect known as "flattement," used to embellish long notes and produced by waving up and down the fingers not covering a tone 527

hole. Vibrato produced by fluctuations in air speed was also known, but was frowned upon. I remind you once again that on the flute the flattement may not be made with the chest because if it is, one can very easily get into the habit of wobbling, which results a miserable execution....I also remind again to whereas use this on ornament onlyinseldom, so that it will not fail to have its you good effect, 528

the contrary it will certainly arouse disgust if it appears too often.

Peter Lloyd does not forbid the use of vibrato in Baroque and Classical works, but he

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does feel that it should be minimized, because even on a modern flute the performer is working with a smaller dynamic palette. As he advised during a masterclass, "Lose the tension in the vibrato. Be much more relaxed. I don't say don't use any at all, but keep it down as more of a color in the sound."

529

 Above all, flutists flutists should avoid any vibrato vibrato that calls attention attention to itself. Nancy Nancy Toff  decries "wide, Brahmsian, orchestral-style vibrato" as an obvious anachronism when playing music of the Baroque and Classical eras.

530

TOP  TOP Main Index Re-editing Baroque Works There are many editions of Baroque works in which editors have added articulations and dynamic markings. Because scholarship of Baroque and Classical era music has grown in the last thirty years and so much information is currently available to players, Peter Lloyd suggests that flutists start from a "clean" copy of a work and add their own markings. This does not mean that players should over-edit their own copies. Lloyd suggests putting in as few marks as possible.  Adding your own markings, markings, again, limits your own own possibilities possibilities towards any potential spontaneity. I very rarely put markings in unless I have to, because I do want to be able to do something else. You suddenly see your markings there and you're stuck with it, and you're almost limiting yourself by the marks. I think for one's students, maybe a certain amount of marking is a good idea. I know [though] that some people mark everything.

531

Especially when confronting an edition published from 1950 or before, Lloyd says: Since they did these editions, all this [additional] information has been made available to us. And we do have to go a little beyond what they used to do....I think it is important nowadays for those of you who have got these old editions that are heavily marked up, edited, [even] by very great flute players of their day, do think twice about it. Look at contemporary editions....These were wonderful editions a while ago, but now it's different.

532

If anyone has seen Kiujken's Bach sonatas--okay, they're terribly expensive--but they're absolutely brilliant. [It's got] notes on performance practice, history, comments on possible right notes and wrong notes--everything you could possibly imagine has been included.

533

During one class, with an especially onerous edition, Lloyd burst out: Now, the...thing that I take issue with [in] this wretched edition, is that dear Mr. [name withheld], whenever he organized this...some of the slurring is so awkward and so counter to the style that it's just plain crazy!

534

In the case of an over-edited work, Lloyd explained his solution. What I did do was to take this piece and paint out all the dynamics and every slur with white ink...[then] getting a [xerox] copy and starting all over again. That works very well.

535

Players who do not want to mark their original copies permanently may first

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make a xerox of a page, then take out all the articulation and dynamic markings and make one or more "clean" copies on which to put new markings. Peter Lloyd uses urtext versions of Baroque and Classical works whenever possible. However, this habit once backfired on him. I remember a lesson I had with [Marcel] Moyse when all this was just beginning to break forth, and I had the temerity to bring the [J.S. Bach] B-Minor Sonata to him. He looked at my Bahrenreiter part and he said, "Where are the marks?" He was very, very angry, and he proceeded to scrawl all over my music. "Crescendo! Diminuendo! Mezzo-Forte! Forte!" He was sort of 536 punishing them out at me--he was very angry. TOP  TOP Main Index Baroque/Classical Ornamentation Ornaments are more usually added to Baroque works, as composers of the Classical era had begun to write in the ornaments of their choice rather than leaving ornamentation up to the performer. Ornamentation was expected of performers, rather as jazz players are expected to improvise a standard tune. It is especially important that younger players realize they are not breaking a rule by adding ornaments. Slow movements and repeated phrasings are particularly suited to ornamentation. Peter Lloyd's biggest concern about ornamentation is that it sound improvisatory. Most flutists are so worried about playing "correct" ornaments that the works become static museum pieces instead of living works of art. The late Thomas Nyfenger captured the joy of ornamenting Baroque works when he wrote: What fun! So what of the fellows with the powdered wigs and the funny instruments? instrumen ts? Is there not jazz or its equivalent in every age? Perhaps Telemann didn't saunter into the local pub and ask the boys to cut his new chart, but the effect and sentiment may well have been the same. Squareness and stodginess are products of dusty minds as is historical blindness and blandness and undue reverence for any composer whose art has survived his 537

presence. Lloyd cautions players to mark their ornament suggestions lightly in pencil. When returning to a work months or years later, performers may have changed their minds completely. If they are able, he encourages performers to add ornaments spontaneously. "Try not to write it all out. I think it should be more improvisatory." During a masterclass, he encouraged a performer playing a Stamitz concerto this way. This isn't music to listen to sitting in rows. I think you ought to be wandering around talking, occasionally occasionally listening. It sounds awfully sterile like this somehow. I think you ought to feel the music has charm and enjoy yourself more, and not [feel] that you're examining it with a microscope. Enjoy it more. Just let yourself do things rather than thinking, "How should I do 538

this?"

TOP TOP  Main Index

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Writin g Cadenzas Cadenzas in Baroq ue and Classical Era Work Work s

The history of cadenzas is not generally known among flutists.  At the end of a piece of music or a major section section of music, music, early singers singers and instrumentalists often added a fanciful, somewhat virtuosic flourish. This embellishment was intended to surprise the audience, heighten the intensity of the music, and probably also encourage an outburst of applause. During the embellishment, the movement of the accompaniment stopped.... Because of their Italian origin and their location at major cadence points, all such cadential embellishments have come to be called "cadenzas," the Italian word for cadences.

539

In many instances, flutists use pre-written cadenzas when playing a Baroque or  Classical-era concerto. Usually those cadenzas were not written by the composer, and often they were written during the Romantic era or the twentieth century. They vary widely in length from a few measures to cadenzas almost as long as the rest of the movement; the style of the cadenzas may not match the styles of the works. In Baroque and Classical times performers were expected to insert their own cadenza, utilizing themes from the work being performed. The purpose was to give the performers time to display their particular talents--whether pyrotechnics, color variations, or emotive qualities. The object of the cadenza is simply to surprise the listener unexpectedly once more 540

at the end of the piece, and to leave behind a special impression in his heart.

Lloyd encourages present-day performers to write their own cadenzas. Most modern flutists shudder at the thought of having to be a composer as well as a performer. He informs flutists that their cadenzas need not be as long or as complicated as the ones they see. In fact, he feels that most pre-written cadenzas are too long. In one class he commented: Mozart's orders--what was current in the day--was, two breaths for cadenzas. No wind player was going to sustain any audience's interest for more than two breaths!

541

Performers similarly feel that they have to play very fast in the cadenza or it will not be good. We have this terrible feeling as flute players that it's boring, or it's getting boring, so we sort of think, "I'd better get on with it." You must take your time. Stretch it...be elegant. Wait for it. Don't rush. Giving it the timing, the space--it sounds so beautiful. It's timing and placing, all the time. And don't forge the 542

silences.

The problem of writing and playing cadenzas in Baroque and Classical era works was important enough to come up as a topic for a question-and-answer session during a 1995 masterclass. One performer asked about cadenza length. The Mozart ones are supposed to be done in two breaths, but as the fashion has gone on...they got so long and so remote from the key that it took a long time to get back. But that [two breaths] was the original rule....There are no existing cadenzas by anybody of those days that I know of. I haven't heard any....On the other hand, having said that, Mozart wrote piano concerto

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cadenzas but he didn't write violin concerto cadenzas. So I don't know exactly what issued from that. It's a rash assumption to say that wind players could do it [write their own cadenzas] and the others couldn't!

543

During the same session, another performer asked about editing existing cadenzas.  Are they sacred, sacred, or can can performers performers use parts parts they like like and omit omit the rest? His His answer: I don't see why not. Look at the Reinecke Flute and Harp [Mozart's Concerto for Flute and Harp in C Major] cadenzas [i.e., Carl Reinecke's cadenzas written for the third movement of the Mozart Concerto for Flute and Harp in C Major]. We nearly always start at least halfway through--sometimes near the 544 end of it--because it gets too tortured. TOP  TOP Main Index Closing Peter Lloyd believes that players now have much more opportunity to bring Baroque and Classical era works to life than before--even on a twentieth-century instrument--because of the scholarship available to any performer and the number and quality of recordings of works available on replicated period instruments. I think it's an important thing to remember that we now have available so much information informatio n on eighteenth-century technique. technique. And I don't think it's fair to just sort of brush it under the carpet and say, "Oh, well, the Baroque people will do that, because they've got Baroque flutes." I think we [all] have to, now, learn a little bit about phrasing, a little bit about the techniques of the time.

545

I'd also like to say that about early Romantic--some of the pre-Boehm instruments [used in the time of] early Beethoven, and Kuhlau. Maybe we have to re-think a little bit about how they played. 512 Masterclass notes, 10/29/94, Performer 3. 513 Masterclass notes, 10/23/94, Evening class. 514 Masterclass notes, 6/95, Class 5. 515 Masterclass notes, 6/23/94, Morning class. 516 Additional taped notes, October 1997. 517 Masterclass notes, 6/23/94, Morning class. 518 Masterclass notes, 6/95. Class 5. 519 Masterclass notes, 6/13/95, Evening class. 520 Additional taped notes, October 1997. 521 Masterclass notes, 10/29/94, Performer 1. 522 Masterclass notes, 6/16/94, Morning class. 523 Masterclass notes, 6/18/94, Morning class. 524 Masterclass notes, 6/16/94, Morning class. 525 Masterclass notes, 6/23/94, Morning class. 526 Additional taped notes, October 1997. 527 Quantz, 165-6. 528 Tromlitz, 215. 529 Masterclass notes, 6/23/94, Morning class. 530 Toff, 159. 531 Additional taped notes, October 1997. 532 Masterclass notes, 6/95, Class 10. 533 Additional taped notes, October 1997. 534 Masterclass notes, 6/23/94, Evening class. 535 Ibid. 536 Masterclass notes, 6/95, Class 10.

546

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537 Thomas Nyfenger, Music and the Flute (Guilford, CT, Thomas Nyfenger, 1986), 107. 538 Masterclass notes, 6/95, Class 6. 539 David Lasocki and Betty Bang Mather, The Classical Woodwind Cadenza, A Workbook (New York, NY: McGinnis & Marx, 1978), 1. 540 Quantz, 180. 541 Masterclass notes, 6/95, Class 7. 542 Masterclass notes, 6/13/95, Evening class. 543 Masterclass notes, 6/15/95, Morning class. 544 Ibid. 545 Masterclass notes, 10/29/94, Performer 3. 546 Additional taped notes, October 1997.

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Chapter 5 Back to Main Index

PETER LLOYD FACILITY What This Term Incorporates  Incorporates Common Pitfalls That Hamper Facility Minimal Movement of Hands and Embouchure  Embouchure Suggested Exercises Group Exercises Used in Masterclasses  Masterclasses Facility Routine Used in Manchester   Auxiliary Fingerings for Selected Difficult Passages  Passages Use of the Knuckle Key "Oiling" the Pinkie

What This This Term Incor por ates

In this work, the term "facility" is often used in place of the more commonly used "technique." Geoffrey Gilbert, Trevor Wye, and Peter Lloyd all make a distinction between these two terms. Technique refers to every aspect of flute playing working together in concert. Facility is the physical ability to move quickly--being facile. This is not to say that they never used the term "technique" in reference to finger facility when talking to an audience. TOP TOP  Main Index Common Pitf alls That Hamper Hamper Facili Facili ty Peter Lloyd believes that finger facility should be taught as early as possible. If you can get young kids interested--to get their technique going before they're fifteen--this fifteen--th is sort of stuff is easier for them. It's possible to do it later, bbut it gets harder and harder as time goes on. I do think, particularly for you young ones, get at these noodles. Get at them as hard as you can while you're still young. The ancient ones get at them three times as hard! Coordination problems occur when players are not paying attention to what their fingers are doing. This is interpreted by listeners as sloppiness, even though the correct notes are being played. This is especially true in slow passages, where players may move their fingers in a slow, uncoordinated manner. "Look, when you make movements with your fingers--don't let them be lazy. Make the finger  movement as fast as you can. Don't do it like centipede legs." Geoffrey Gilbert taught the concept of "finger legato." This is the ability to play "without any perceptible interruption between the notes" and is achieved by keeping the fingers close to the keys at all times, avoiding "popping" or slapping down the keys with excessive force, and keeping the fingers as relaxed as possible at all times. TOP TOP  Main Index Minimal Movement Movement of Hands Hands and Embouchure Obviously, the less movement expended by both fingers and embouchure, the faster  they can move. John Krell wrote of the concept he learned from Kincaid:  All technique begins with finger position, position, a position position that permits permits the maximum maximum efficiency with the minimum of effort and movement. The effort can be measured in ounces, and the movement in eighths of an inch.

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 A more common common obstacle obstacle to facility, facility, especially especially in works that that demand rapid rapid alteration alteration among octaves, is a tendency to move the lips, jaw, and head more than is necessary. Peter Lloyd feels that students are using extra body movements to compensate for not using enough air speed. Geoffrey Gilbert also addressed this problem. He taught that developing flexibility and control was achieved by moving the embouchure as little as possible among octaves, and, "simply stated, if one wants to change registers, then blow harder." The following are samples of Peter Lloyd's comments in this regard: You don't need to move so much....you don't need all that movement. I think if you try to keep in the same spot here and don't do the big movements and just let the air do it for you, this really does work better...than having a lot of tension in the air and having to do a lot of movement here [at the jaw]....It really is the secret honestly...to try to keep the air flowing and not do all this business on the chin. It's not necessary. TOP  TOP Main Index Suggested Exercises For facility practice, Lloyd suggests using the Marcel Moyse patterns in Etudes et Exercises Technique , Trevor Wye's Machiavellian exercises from Practice Book for the Flute, Volume 2 [Technique] , Daniel Woods's Studies for Facilitating the Execution of the Upper Notes of the Flute , and Gunnar Johanssen's works Exercises for Advanced Flute Technique , numbers 1 and 2. "These sorts of  noodles--you can make them up yourselves! But the more technique you get down early [the better]. It makes such an incredible differrence." Lloyd insists that technical exercises, such as scales, be worked gradually faster  after starting at a slow tempo. Remember, that all these techniques need patience. Don't expect to get results by next week. Just work them up month by month by month. You'll be amazed how easily they'll come. When playing exercises exercises for facility, he asks flutists to resist t he urge to use alternate fingerings, which make passages easier. When you're doing scales, exercises, and all that, use the correct fingerings because the point of the whole thing is to make it difficult, for flexibility.  Although memorizatio memorization n of solo literature literature is left left largely up up to the performer, performer, Lloyd does advocate memorizing technical facility exercises. How quickly can you memorize these? Seriously, those of you who can memorize very easily, just get them in your head as quickly as possible so you can concentrate on what you're doing, rather than what your eyes are seeing. TOP TOP  Main Index Group Exercis es Used Used in Masterclasses The following is the routine of group exercises used by Peter Lloyd in his Masterclasses. Each morning the group played the same general routine, but started on a different note. As an example, the following begin on C.

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* C-major scale * C-major scale in thirds * C-harmonic minor scale * C-harmonic minor scale in thirds * C-melodic minor scale * C-major arpeggio * C-major arpeggio, broken * C-minor arpeggio * C-minor arpeggio, broken * C-Dominant-seventh arpeggio * C-Dominant-seventh arpeggio, broken * C-Diminished-seventh arpeggio * C-Diminished-seventh arpeggio, broken * C-augmented arpeggio * C-augmented arpeggio, broken * Whole-tone scale beginning on C * Whole-tone scale beginning on C, in thirds * Chromatic scale beginning on C.  All scales and and arpeggios arpeggios use the form in Geoffrey Geoffrey Gilbert's Gilbert's Technical Flexibility Flexibility --beginning on the tonic, proceeding upwards to either c-sharp 4 or d4, descending to the lowest C or C-sharp, and then risingg back to tonic. We do C, everything one we back start to onlow C major, straight scales. on low run up tointop D,key. thenSo drop C. No all scales down to B. Start So there's your C-major. Then your C-minor harmonic, then C-minor melodic. The arpeggios are in this order: major, minor, dominant-seventh, diminished-seventh, augmented. Then whole tone scale, and straight chromatic. We'll bring in some scales in thirds and broken arpeggios on Thursday, and chromatics in seconds, minor thirds and major thirds. Lloyd also uses exercises involving scales and arpeggios that break up the routine and cause the player to make rapid switches among keys. Take a whole tone scale, play it over two octaves and when you come back, take the semi-tone higher, just as we were doing with the sevenths....It works pretty well. So you go from C up to C two octaves, and back to D-flat. There's one note out, but it works all right. The reason I do this is because, it seems to me that when we always do all majors, all minors, etc., there never seems to be time to get to the end ones. And I do find very often, diminished sevenths and whole tone scales seem to get neglected. TOP TOP  Main Index Facili Fa cili ty Routi ne Used Used in Manchester  I have a system in Manchester. The first year they do what we're doing now. The second year they add thirds, chromatic seconds, major thirds, minor thirds, and broken arpeggios. The third year they add fourths, fifths, sixths. Then the fourth year they add sevenths and octaves. So those who are not due for it, just play the scale every other note while the others are playing all the intervals. In Manchester, we have to set the courses for each year. So what the first years do is the basic pattern that I've told you--no intervals, all the way through. And then the second years have to do all that lot, plus all scales in thirds and fourthss, plus chromatic and add the broken arpeggios. Then the

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third years add sixths, the whole tone and chromatics in sixths. And the fourth year add sevenths and octaves. So that way, if you can see, it sounds an awful lot in a lump like that, but if you look at it over four years....They start working on their next year's scales immediately after the scale exam, so they've got a whole year to add just a couple of intervals. And if you'd look at it in long term instead of thinking, "Oh, my God, I've got to do all this..." it really isn't as bad as all that....When we're working in class, if the first year [students] don't know the second year's stuff, they drop out. And [by the end] the poor fourth years have to do all [the rest] by themselves. I'll tell you what you do, if you have a small class. What we do in Manchester  is, we have just one ring [circle]. And of course you start and each person does one separate [scale]. And each time a person makes a mistake, they have to do that one again and the next one. So nobody afterwards knows where they are, so they can't practice ahead. Works very well. TOP TOP  Main Index  Au xi li ary ar y Fi ng eri ng s f or Selec ted Dif fi cu lt Pass ages Some flute players feel that auxiliary fingers are "fake" ones and should be avoided at all costs. Gareth Morris was one such player. The original fingerings are always preferable, because they are acoustically accurate in sound and pitch; therefore, every effort is made to avoid the other, unless it is impossible to negotiate a particularly difficult passage in the normal way. Other players, such as William Kincaid, were not as strict. Do not be a purist in the sense of never resorting to any type of...so-called fake fingering. There is nothing so chaste or uncompromising about some of the pure fingerings to begin with, and frequently the character of the music demands a lightness and facility that can only be accomplished with the fake fingerings. Used with discretion, they are often the more musical solution to the playing of an otherwise clumsy handful of notes. Even though Peter Lloyd insists on standard fingerings during the playing of exercises designed to build facility, he is a strong advocate of using alternative fingerings for musical reasons in a working situation.  As far as playing playing pieces pieces is concerned, concerned, use the the fingerings fingerings that sound right. right. I don't care what the fingerings are, as long as they sound right when it comes to pieces. [But] not in exercises. If you're going to play in orchestras, it is absolutely essential that you have as many alternative fingerings as you possibly can find, because you cannot always be switching here [indicates embouchure].... Because, however perfect your flute is--maybe you've got the flute of the world. Factory in tune. That's okay. But having got your perfect flute, you've then gott to play it out of tune with everyone else. So it doesn't make any difference!  Alternate fingerings fingerings are are so important important because because in an orchestra orchestra when when you're playing sharp with the fiddles and flat with the clarinets...you need every possible fingering in the book because you don't want to control intonation on the lip, because that keeps changing the color--and you lose your intensity....You want to get fingerings that are in tune with whatever is

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happening at the time....It's noot difficult to do. It's not complicated.... The following are examples of orchestral literature using alternative fingerings that Lloyd has found particularly useful: For instance, you're sitting first flute and you're playing the opening to Beethoven's 4 [Symphony No. 4], which if you remember has a lovely pianissimo B-flat in octaves with the clarinet and bassoon. bassoon. So if you do this one, you're either going to have to do this [makes huge lip movement] or this [uses a harmonic fingering which bends the pitch 1/4 step up] because they always play sharp. You use a harmonic and you...can beat them at their own game! [NB: The fingering is a low E-flat, playing the harmonic B-flat above, and sliding back on Finger 2--the "A" key.] For the famous flute solo in the Brahms Symphony No. 1 in C Minor, Lloyd uses the following fingering for the opening e3. The left hand plays the normal fingering, but: Put all your right hand down, with your little finger on the C keys. Now you can play very loud. It's a very useful fingering if you're playing Brahms 1 and the horn is too loud--as they always are these days with their big instruments.

512

Peter Lloyd uses the right hand middle finger for third octave F-sharp almost always, but keeps the tone color from becoming unclear by putting down only the ring. He uses the following story to illustrate the blind obedience that many students have to the "right" fingering for a note. I was accused once by a member of an audience... who was obviously watching me play in the orchestra through binoculars or something because she came down afterwards and said, "So why do you always play that F-sharp with the middle finger? You're not supposed to, you know!" So I said, "Because it's out of tune if I don't!" She couldn't unders understand tand that at all. She'd obviously been taught that you've got to use what's in the book.

513

In Prokofiev's Petrushka, Lloyd advocates the following fingering for the opening motive: If you start with your A, put down your G-sharp key and your F key. This makes a very loud A, which enables the player to emphasize the beat. I want to hear the accents on the beat. Otherwise, you're shifting the beat.

514

 A third octave octave A-B trill is a quandary quandary flute players players hate to to face. Peter Lloyd Lloyd has this this suggestion: Finger a low A and put the first trill key down as well. Then trill the octave below with the first trill key on. If you [play] it slowly, it's disgusting disgusting.. But if you're 515

playing loud and fast, you don't notice it. It doesn't sound so flat. f lat. In Bela Bartok's Concerto for Orchestra, measure 106, he suggests:

On the piccolo, try playing E with your thumb off and low D with your thumb off; it should play softly enough. And don't forget for the A-sharp you can play low E-flat with your thumb and second finger off....now do it as pianississimo as 516

you can.

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For Richard Strauss's Til Eulenspiegel's Merry Pranks, Lloyd advises the following fingering: When you play the A-F-B, I would always fork that F with the extra finger  [thumb, 1,3,4,6,D-sharp key] because that way it can't crack....In the same way, always use the middle F-sharp if you're going from A to F-sharp, [because] the long F-sharp will crack.

517

He urges the use of auxiliary fingerings [and harmonics] for certain colors and dynamics in solo repertoire and orchestral works. I don't mean fingerings only to put things into... orchestras...but things that are making music. For example...in the middle of the second movement, [of Sergei Prokofiev's Sonata for Flute] those high A's--use harmonics on them. Use different colors. I really believe you've got to think a lot more about harmonics. There must be a musical reason--you must never do it at random, because they're in a phrase--influencing the phrase.

518

TOP TOP  Main Index Use of the Knuck le Key The knuckle key is present on every Boehm-style flute and piccolo. Because flutists are never instructed in its use, it remains one of the least utilized parts of the instrument.  A lot of you, particularly particularly you young young people, don't don't seem to to be too aware aware of what what that funny little [key] is. It closes the B-flat. I'm going to ask you to do a very simple little exercise which goes [puts knuckle key down and leaves it while playing] B-flat/A-flat/B-flat/A-flat B-flat/A-flat/B-flat/A-flat [repeat] and continue down tto o F-sharp....Do it four times. But, I repeat, try not to take the key off. That is the whole point of  that fingering. When you're moving around, instead of using that first finger F where you have to take it off every single time...[you can leave it down].

519

Just use the side of your finger. Don't actually put your finger on it, just lean 520

over.

I remember going to Geoffrey Gilbert once...and I said "What's this for?" He sort of looked at me with a blank face wondering why on earth didn't I know. Next time I went to him for a lesson, he gave me a piece of manuscript paper with all the orchestral solos that he used it for and explained why.

521

TOP Main Index TOP  "Oiling" the Pinkie Pinkie One suggestion sometimes forgotten by flutists (only to be remembered when encountering notes in the bottom of the range which incorporate a great deal of movement with the right hand little finger) is to put a smudge of face oil on the right hand little finger before trying to negotiate the several keys moved by that same finger. Who hasn't greased their little finger? How you do it is your own business! I don't know what it is about girls, they're so worried about doing this. I think it's because you don't like admitting that there might be some grease on your  face. But really--slobber really--slobber it on so there's no question--I question--I can hear an awful lot of  gritty movements at the bottom [of the scale passages], and I'm sure from 90%

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of you it's because your fingers are dry.

522

Inelegantly put, the best places for finding face oil are the sides of the nose and the temples near the hairline. 512 Masterclass notes, 6/95, Class 8. 513 Ibid. 514 Masterclass notes, 6/16/95, Evening class. 515 Masterclass notes, 6/16/94, Morning class. 516 Masterclass notes, 6/17/95, Morning class. 517 Masterclass notes, 6/16/95, Morning class. 518 Masterclass notes, 6/15/94, 5 P.M. 519 Masterclass notes, 6/24/94, Technique class. 520 Ibid. 521 Ibid. 522 Masterclass notes, 6/15/95, Technique class.

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Chapter 6 Back to Main Index

PETER LLOYD PROFESSIONAL ADVICE Auditions Trial Period Orchestral Auditions  Playing in a Professional Orchestra  Orchestra  Playing Selected Orchestral Works Debussy: Prelude to Afternoon of a Faun  Faun  Ravel: Daphnis and Chloé Suite Stravinsky: Petrushka  Petrushka Mendelssohn: Scherzo from Midsummer Night's Dream Hindemith: Symphonic Metamorphosis  Schoenberg: Playing Recitals  Recitals  MentalMetamorphosis  Barriers and Stage Nerves Wind Quintet Playing in Different Halls  Halls  Practice Playing with Tension

Orchestral Orche stral Auditions

Peter Lloyd has been on both sides of the audition screen in his career and has coached many of his students through the stress of their first auditions. Over the years, he has gathered some tips for flutists who are facing the audition process. Even with the best of advice, Peter Lloyd reminds flutists that no audition is foolproof. The element of chance is always present, and no one knows for certain exactly what qualities a committee is seeking. He is especially concerned about the current use of screens for auditions. It's very difficult to penetrate a screen if it's cloth. In order to make any sort of impression, you have to push the sound. It is a problem, trying to project a personality through a brick wall, you know....So you have to feel that the energy can be got through or over or something. We can do it. The good players will always do that. This concern has also been voiced by James Galway, who states:  A popular, but in my view misguide misguided, d, practice nowa nowadays days is to hold auditions auditions behind a screen. The argument is that if the judges can't see whom they are judging, the audition won't be fixed, and the one who gets the job will do so by virtue of his skill and musicality alone. I disagree...primarily because the screen or curtain or whatever tends to blur the clarity of the sound.  American flutists who who are auditioning auditioning in other countries countries are caution cautioned ed that playing behind behind a screen is not used in many European auditions. Americans who are accustomed to playing behind a screen may find these auditions especially unnerving. If it is at all possible, Peter Lloyd strongly suggests knowing something about the sound of the orchestra, musical habits of the conductor (i.e., tempos on the fast side, etc.), and the sound of the current or former principal flutist. The last part is especially important for  a second flute audition. It might be worth it just trying to research them a little bit. If you get a chance to hear the first flute, if it's a second flute position, if you can listen to the first flute anywhere--or even watch the conductor anywhere--you should get a clue as to what they're looking for. [When] you've got your chance, try to calculate what they [the principal flute] want. Try to listen to the sort of sound they make. If it's a very dark, harsh sound, try to copy it. Try to be with it. Because if you're making a very light sound, and they're making a very dark sound--it ain't going to blend!

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If it's an orchestra that's done a recording, check them out and see what the general standard of the playing is like there. See if the conductor is a very musical man, or a slick one. If he's one of these ...laddies who like everything to go very fast, then go very fast. James Galway goes even farther and suggests taking some lessons with the principal flutist, "which may prompt him to argue in your favour at the audition on the grounds that he knows and likes your playing and believes you are up to the job." Having sat on panels, Peter Lloyd asks the auditioners to consider the audition from the panelists's point of view. I wonder if...you can imagine yourselves on the panel? Try to decide in your own mind what you want to hear. What's the first thing you've got to think about? Don't only think about your own nerves, even though they're overwhelming. There's another part. Remember, the panel's probably sat there and listened to thirty or forty people, if the first letter in your name happens to begin with an R or S....What you've got to do is think...how can I impress them? Don't forget the panel is bored until you play. And then if you do something they'll think "Wow, listen to that, lads, isn't that great?" And honestly, any panel wants to enjoy. Nobody wants to sit and be bored. The player who comes in and does something good, you're already allowed to slip something later on.  A panel is not likely to be impressed w with ith the thirty-fourth thirty-fourth unexciting rendition of Mo Mozart's zart's Concerto in G. Neither are they likely to be moved to sympathy by a performer's anxiety. What might wake them up is confident playing full of life and, unless the Mozart Concerto in G is required, another work with an exciting opening. If you play [your] first four bars with brilliance, accuracy, color, life...they will already have been listening....You want to find a piece that has not got to be Mozart, which is so difficult to start with. You need to find a piece that will suit you and will impress them. In other words, something that will help you relax. Don't start off with [a piece that begins with] a piano, if you're tense. Think forte. Think Hüe Fantaisie or something of that nature. Then automatically you can get expression and life going in the sound. Trevor Wye advises that if the choice of a solo is up to the auditioners, they should choose solos that show them off to their best advantage. Choose solos to show how good you are. That is to say, the piece must demonstrate your abilities in a lot of areas: tone, technique, etc., as well as your suitability for an orchestral chair. If, however, the first movement of the Mozart Concerto in G is required (as it often is), Peter Lloyd advises: If you're playing Mozart G Major, practice that first entry and practice it until you're black and blue in the face! Practice it upside down--whatever! Make certain that the energy is in your articulation at the beginning of that first note. Already, an impressionn is formed by just that very first thing. Performers of any ability must deal with performance performance nerves. No matter how shaky one feels, Lloyd says that a secure breathing cycle will help the audition. If you're very nervous, try to get your mind off the nerves and onto the breathing. Try to breathe, because if you breathe well, you've got a chance to produce a warm, good sound that's going to help you relax. Most of the time, the nerves come because we don't know what the first note's going to be like. [And] you've got this awful battery of people in front of you, or on the other side of that screen, waiting for the mistakes....

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 After the opening opening solo work, auditioners auditioners will play a number of orchestral orchestral excerpts excerpts from a pre-supplied list. These excerpts will include many difficult passages, designed to eliminate the less skillful. James Galway describes the process: Most orchestras announce beforehand beforehand what the audition pieces will be....The idea of an orchestral audition is not to test your abilities on--say--an early Haydn symphony, but to see how you sound in the tricky bits, when the chips are down, or when the flute has thhe starring role. Peter Lloyd cautions that the first round is not the place to show one's unique interpretation of these excerpts. This is the qualifying round, where players show that they can be exact in their rhythms, pitch, and dynamics. Be very careful about all the expressions and all the things that are on the [excerpt] part. You're not a free agent, as you are when you're playing a recital ....It has to be perfect. You have to play exactly what's on that part to start with. Lloyd adds that these words of advice were supported by a visiting flutist, who told students under what circum-stances they could take freedoms with the excerpts. Somebody played Daphnis quite freely, and she said, "No. Not if you're doing an audition. They don't like that. Play exactly what's on the part. Dynamics, rhythm must be absolutely exact in what you do so that nobody can criticize you. There are a lot of  people who don't want to hear that played freely, and they'll vote against you. When you've got the job, that's different. Then it should be played freely within the style that's there." Dynamic and rhythmic considerations are crucial in an audition situation. Make sure your fortes and pianos are very different. And if you're behind a screen, I'd suggest that you try to exaggerate that, because there's an awful lot of mush to get through with the screen. Be absolutely exact in what you're playing, so your rhythmic affection is totally strong and prepared. Make sure that you use the metronome. metronome. Make sure that your sixteenths are not triplets, that everything is even--absolutely exact. That's something they [the panel] look for, and I think that's fair enough. In order to work through a battery of difficult excerpts, Peter Lloyd suggests a warmup/scale routine that will help in playing the actual works. [Don't] just practice the bits and pieces. Make certain that you practice around them. Say, if you've got a Beethoven piece in D-major, make certain that you're practicing all your scales and arpeggios and everything you can possibly do--in the keys you're involved in. So if you're short of time and you've got this big audition coming up, look through the lisst of excerpts they demand and work specifically--particularly--on all the keys involved in those particular excerpts. Rhythm is a crucial aspect of playing audition music. If there are long rests involved in an audition, Peter Lloyd recommends asking beforehand if those rests are to be counted out or not. When you practice, do make sure that you practice with a metronome because because one of  the quickest things to [cause you] to lose your chance in an audition is to play your excerpt...unrhythmically. You don't catch your rests properly. The rests must be counted excerpt...unrhythmically. perfectly.  As far as the screen...is screen...is concerne concerned, d, remember to make certain of your rhy rhythm. thm. Behind that screen, some of those [auditioners] will be going [taps a pencil on the table, eraser

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side down so it can't be heard]. They'll be seeing if it's out of time, and watching very carefully that everything is perfect. Get that rhythm right. One part of auditioning that may unnerve flutists is that they may be playing from an orchestra part instead of their favorite excerpt book. It may look strange. Your personal markings are not there. The setup of bars to a line may be different. To flutists who have been staring at a particular excerpt book for weeks in preparation, the shock of suddenly being confronted with parts that look different may affect their playing. Lloyd recommends learning from an actual orchestral part. These are available through Flute World, Eble Music, orcase Luck's Music. Flutists canworks, get either a first part, a second part, or piccolo part. In the of twentieth-century it may not be possible to buy a part. But the wise auditioner will consult a professional orchestral orchestral player to check for  mistakes in the excerpt. [One] thing you must watch for, which is a big, big trap, is that you've probably learned your excerpts from an excerpt book and excerpt books have mistakes. They have accents where there are no accents. When you come to play in your audition, there won't be an excerpt book. It'll be from orchestral parts. Those parts are going to be in different places on the page--even from one edition to another. You'll probabl probably y find that people have scratched things out and put things in. You've gott to very quickly see that and play it as it should be. The best thing is to memorize the [excerpts]. And, having memorized, be careful to play what is in front of you and not what is in the back of your head. We all know these excerpts. They're not difficult to memorize. [But] then be aware that the part in front of  you in an audition will be different. And they may be different from one edition to the next, because editions are different. Take Dvorak eight [Antonin Dvorak's Symphony No. 8]for instance. The solo in the last movement, in one edition, is all on the left-hand page. But in another edition, it's half at the bottom and half at the top of the next page. And you get to the bottom and suddenly [you're thinking]..."Where thinking]..."Where is it?" You have to be terribly careful of that. I really am emphasizing that strongly. It is surprising how often we are put off by that, [but] it will get you out of the way pretty soon!  After passing the the first round, flutists flutists are faced with the final round. round. This round may or  may not be held behind a screen. This is the time when an auditioner may show more individuality and musicality. If there is no screen, the demeanor of the flutist is very important. Supposing you've gotten through your first screen and you're back out of the screen now--the screens have been thrown away. Make sure you look confident. You know what you're doing. You're positive in everythinng you do. Speak to them in a positive way. If  you're at all diffident, they will interpret that as being unsure of yourself. Once you've gotten through the first round I think things in some ways can be easier. There's no screen so you can actually communicate with people. And if you know you've done well, you've done your homework, you shouldn't be so nervous of your own playing. When choosing a second flutist in the final round, the London Symphony Orchestra had finalists play along with the principal flutist to test how well they blended with and followed the principal flutist. You've got to show that you've got the possibility to play with someone else. That's why in Britain, we generally play. I would bring in [an orchestral work] and I would deliberately do rubato where it wasn't wanted. And I would use my vibrato in totally wrong ways. Out of about eight people, one followed.

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Trevor Wye cautions flutists auditioning for second flute parts to hold their dynamics in check, even in their opening solo. Playing very loudly, "apart from being unmusical--would unmusical--wo uld be telling the panel that you would be unable--or unwilling--to unwilling--to play under, and balance with, the principal flute."768 Peter Lloyd condemns some of the tasks asked of flutists in an audition situation that would not actually occur in an orchestral performance. For instance, flutists in auditions are asked to play the opening phrase of Debussy's Afternoon of a Faun in a single breath. Likewise, it is de rigueur for auditioning flutists to play the last phrase of  Mendelssohn's Midsummer Night's Dream "Scherzo" movement in a single breath. What are you going to do about Après Midi? You need to play it in one breath. I'm not saying you should musically, because I think that's nonsense. However, for the sake of  auditions, do it in one breath.769 By the final round, flutists can help themselves by taking these excerpts faster than usual. Silly little things I think are worth doing. If you've got to start with Midsummer Night's Dream "Scherzo" or something, make sure you play it fast enough to play it through [in] one breath. They may easily say, "That's too fast." But you've done it once, and then you've already got a feeling of [worth]. Little things like that can help.770  Auditioners in the finals round ma may y be asked to try something different, different, such as playing an excerpt faster or slower, or bringing out certain aspects. Often, this this is a test to see how well the auditioner takes directions. If they're terribly interested you know, if you play like a genius, really fantastic, they're not going to worry if you play slightly slower or slightly quicker. They're going to say, "Could you play this a bit slower for us?" or "A " A bit faster for us?" because there aren't going to be that [many] players who are going to go through to the next round. They're They're after the person who can do it. And if they hear somebody who plays just a bit too fast for them, they'll say, "Could you please slow that up for us?"771 Trevor Wye also cites this practice. "Be prepared for anything," he cautions, "such as being asked to play as softly as possible, and then to repeat the passage at half the volume again!"772 Flutists auditioning for colleges, universities, or conservatories are urged to audition live rather than sending in a tape. Throughout his career Lloyd has seen a number of  instances in which the personality of the player did not emerge through a taped audition.  Also, auditioners must must be aware that a tape ma may y distort or muffle muffle their sound, sound, or that a tape may run at a slightly different speed on another tape player, which would alter tempi and tuning. If a live audition is not possible, use the best equipment available, available, and as Peter Lloyd says: Be as accurate as you possibly can, and give an idea of intensity, energy in articulation, and life in the vibrato. Be sure the rhythm is exact....The little box can't take in personality. But the rest is there.773 Nancy Toff had the following advice for flutists preparing tapes: (1) Make sure microphones are not placed so closely that mechanism noises or breaths are picked up. (2) Choose a room that is medium "live"--"neither an echo chamber...no chamber...norr a dead room." (3) Use high-grade tape and a separate microphone, "not the condenser microphone included in some portable recorders." (4) Before sending a tape, especially if it has been dubbed from a master tape, listen to it.

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(5) Make a "safety copy" for your files, in case the original is lost or damaged in transit.774 TOP Main Index TOP  Trial Period Supposing that an auditioning flutist has been chosen for an orchestral position, the next hurdle to be faced is a "trial period." This is a probationary time in which the flutist actually plays with the orchestra to see whether they will be hired permanently. Sometimes two or more finalists will undergo this final trial. It should be allowed. [One should have] a long enough time to settle down and give one a chance to know what's happening around you. So often, people can be appointed who are totally wrong and then of course you've got the misfortune of having to get rid of them....But having a chance to really soak in all the styles with a different orchestra for a long time, it's the best way.775 One crucial aspect of surviving a trial period is not necessarily playing, but getting along with colleague musicians. You know, it's not so difficult to actually get the flute up and play. But actually working with individuals of all sorts and shapes and sizes... [that's] a problem to face. One [player]...should have gotten jobs all over the place, but never did so because whenever she got onto the trials she couldn't stop opening her mouth. She'd say, "I think it's sharp there, do you think you could come down a little..." and [that was that]. You don't do that. You must always ask people, "Look, would you help me? Am I a bit sharp? Would it help if I played a little lower?" Always work like that. Always work as though you are always wrong and everybody else is right. Use a strong sense of  psychology. It's very, very important in a wind section.776  Another bit of advice is to avoid showing showing off one's skills, especially especially in a second second flute situation. It is not only ill-mannered but professional suicide to play the principal flute's solos where other orchestra members can hear. Even principal flutes on trial should avoid giving the impression that they are better than other members of the orchestra. Give the impression of competence, but within the context of working with other orchestra members. It's very tricky. But if you look at it from the point of view that almost everyone in that section is nervous--worried--you're nervous--worried--you're not going to outdo anyone else. You are going to ask other people's advice. Because by so doing, with a bit of luck--unless they're stupid--you're stupid--you'r e going to get along. You're going to get them on your side.777 Obviously, a second flutist must get along with the principal flutist. As in other  professions, getting along with one's job superior is crucial to keeping a position, even if the principal is rude. Hopefully you've had a chance to weigh up the principal, whether they happen to be an easygoing person or one who's going to be a nervous wreck all the time. It makes a total difference to the way you react. You have to be quick. You have to underst understand and straight away.778 Trevor Wye put it this way: Principal players won't be interested in you if you are competing with them; they will only see you as a threat. A second flute is a supporting role in many ways, not the least of  which is allowing the principal player to play at his ease, and to assist him. Only a silly second flute would be practising the "big tune" in the dressing room before the concert,

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especially so within the hearing of the principal.779 It is helpful for flutists on trial to realize that they are not the only person nervous in a performing [or even rehearsing] situation. Everyone playing in a wind section is nervous, as you well know. Everybody has this feeling of...we're all worrying if it's going to be okay, or not all right. Nobody's ever really confident no matter what they look like. We're all worried. So you've got to understand that the people around you are looking for a new player sitting there who will fulfill their criteria, which means somebody who has a knowledge of how to get [along] with them. The playing part is, as I've said before, probably the easy part.780 Being on trial is equally stressful for principal and second flute positions. [You must face] the terrible problems of trying to sit with a whole lot of strangers and wondering how on earth you're going to deal with them. For one thing, you don't know the first flute. You don't know if they're going to play loud, sharp, flat, fast, dull, or if they hate music! The point is, you've got to play with them. And it doesn't matter if there's an extremely difficult second clarinet or a first flute that's forever worrying, or a first oboe who's twisted all around mumbling about his bad reeds. You have to learn how to get on with them.781 Finally, any person on trial must also watch the style of the orchestra. Having hopefully assessed the principal and some of the other weird people sitting in the wind section, you've got to remember that you've got to play in tune...a tune...att whatever dynamic they want. Try to understand why they articulate the way they do. If they are musical people, they might articulate differently for each piece. [Listen to] the type of  color they're using. Hopefully you've had a chance to listen to [the principal flutist] in concert and found out the way they vibrate, the way they make their sound, [and] whether they have a dynamic range of zero.782 It may help to ask about the balance wanted by the principal flutist. In the London Symphony Orchestra, for instance, Peter Lloyd says: I always liked my second flute to be louder than me. Because in order to build up volume in a wind section, it's not the first players who play loud. It's building up the harmony inside the chords that really makes the difference.783 TOP Main Index TOP  Playing in a Professional Orchestra Peter Lloyd makes no secret of his love for orchestral playing. As he puts it: Orchestral playing...is by far the hardest and most rewarding medium that a flute player  will ever experience....When you're playing in an orchestra, it's not only a question of playing in tune, it's a question of being a personality, a question of doing what the conductor wants, and somehow blending the whole thing together.784 Gareth Morris points out that, although orchestral work provides ""magnificent magnificent opportunities" for the flute, it also includes "great responsibilities." At various times the orchestral flutist is "required to be a soloist in his own right, a chamber musician, and to have the stamina and confidence to dominate in tutti passages when the occasion arises." Being the top instrument on the score "gives the flautist a dangerous opportunity opportunity to make or mar the quality of a performance."785 performance."785 Just as in the trial period, working orchestral performers must get along with their 

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colleague musicians. Because continued employment depends on every performance, performance, every musician is likely to be tense to some degree. The political angle is a very tricky [thing]. If you're in a top class orchestra, you're working working with a lot of people who have egos, and you've got to learn how to fix yourself up....Most of us are on the defense because we're all worried about being out of tune or too loud or too something, and we're all wondering when the next conductor's going to jump on [us]. The main thing, I think in any orchestra, especially an orchestra filled with prima donnas, is to try to find out how to get along with them. I'm not saying that there is an answer to all of them. But ...you can treat them differently according to what you feel their problems are.786 You get the nervous ones, who if you dare say anything about intonation they go [in a panicked voice], "Oh, God, am I sharp again?" Then you get the "Oh, I'm always right. I've been right for the last thirty years, that's how it's been, why should I change now?" You have to learn to be psychologists.787 Okay, you can say, "No, I'm not wrong," and have a great big row with somebody. But it doesn't get you anywhere in the long l ong run. I think it's one of the most extraordinary extraordinary things, the way I hear wind sections in this country [United States] have gone, where first oboes and first flutes don't talk for twenty years. I can't understand how anybody can...work musically... under that sort of regime.788 You see, I think music is far, far more important than silly little squabbles between two or  three people. It's something we have to learn to get over.789 James Galway echoes the call for teamwork in an orchestral setting and cites two diverse personalities that are negative to that end. "Dull" players who consider their  position a "chore" and are "disappointed in their professional and personal lives" make teamwork almost impossible by presenting a dead weight in any section. On the other  end, "the ego-tripper" may antagonize colleagues and destroy teamwork by setting up factions within an orchestra.790 One of the most important aspects of orchestral playing is tuning. According to Peter  Lloyd, it does not matter if the flute is in i n tune and other instruments are not, because as the top voice--the flute will always sound wrong. This is a very crucial thing in orchestras. It's so hard for us sitting on the top to understand that we will always sound wrong if the chord isn't sounding right. It's the top that sounds wrong. We need to have this terrific flexibility of fingerings to be able to find how to be right. Otherwise, we might be perfectly right, but we just sound wrong.791 In such a case, having the latest word in tuned flute scales is fairly useless. As Lloyd says: You may have the most fantastically well in-tune flute, but that's no good in an orchestra, because you've just got to learn to play it out of tune with everyone else. Of course it helps to know where your notes are, but you need an understanding of all the other instruments around you because again I say, when you're on top you're the one that's going to sound out of tune if that octave or fifth down below you is wrong.792 While flexibility is stressed in orchestral tuning, one should not avoid projecting for fear of  being out of tune.  Always play forwards. forwards. Always play with with energy. Alw Always ays breathe well. well. If you feel uncomfortable because the intonation is wrong, don't ever shrink back, because [your] harmonics will start to fight against one another and the sound will go wrong and nobody can play with you. If you play positively then others will hear and think to themselves,

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"Oh, I'd better get with that."793 If it sounds wrong and you hold back and shrink back, it sounds twice as wrong. You've got to play right out. Play full. Play as rich as you possibly can without increasing the dynamic too much....Above all, keep the air going through. If you're playing quieter, try to squeeze it in the embouchure, embouchure, but push the air through the small hole. Then you keep the intensity and the control of the pitch.794 Is it possible to have too much harmonic in the sound? The answer is--no. Because the more harmonic you are using in the sound, your own sound is richer. And another thing is if you areyou playing oboewith player whoIt has and low, small range of harmonic, can't with play an in tune them. can abevery verythin difficult to cope with unless your own band of harmonic is wide, so that you can get around both ends of it [the oboe's sound] and encompass it.795 Peter Lloyd points out that harmonics in the flute sound can provide support for the rest of the woodwind section, a fact he was taught as a young, slightly-awed orchestr orchestral al principal early in his career. As he tells it: I remember in the early days of the London Symphony Orchestra when I was having problems. I expect it's the same in America. You play in a provincial orchestra and as I always say, you can drive a bus down the intonation system--you could be in tune here, there, or anywhere in between. But you get to the LSO and suddenly the intonation system was just there. You couldn't be here because you'd be out of tune. And I remember being terribly shy and very anxious when I started because I was finding it so hard, because I was always in tune before--and now I was never in tune!  And of course my my nature at that that time was to shrink shrink back, with the result that I would cut out harmonics and make it very hard for other people. I remember [a colleague] saying, "Play! Fill your sound. Play out and let us fit with you." And of course when I eventually got the courage to do that, there was no problem. If you haven't got confidence...it's very hard to produce color and sound. But I think you have to somehow think breathing....Try to think breathing and try to relax and try to let the sound come without you trying to get tense and stopping it. And then see what happens. Let the sound contain the harmonics and let it sing. It can cover a multitude of  other sins.796  As a rule of thumb, thumb, Peter Lloyd advocates pushing the flute headjoint headjoint in a bit when playing slow movements. Most flutists believe that this is done to keep the flute from playing flat, but Peter Lloyd says that it actually has more to do with tuning to the clarinet. cl arinet. Generally I would push in for slow movements because of the problems of clarinets in particular. It's not their fault. It's just unfortunate that when they play softly it tends to be on the sharp side and when they play loudly it tends to be on the flat side. We just have to accommodate as far as possible, and so will they....The whole thing in a wind section is compromise.79 compromise.797 7 Peter Lloyd cautions flutists who have been playing recitals that the dynamic levels in an orchestra tend to be more extreme on both ends, loud and soft. When you play in a good symphony orchestra, the problems that you're gong to face are far greater than anything you'll face standing on the front of the stage....I think the worst problems are dynamics and the fact that you don't play forte and mezzo-piano mezzo-piano as you would if you were standing [onstage]. You're playing from ppp to fff, and having to be in tune with the people all about you. It can be a big, big, big problem--particularly problem--particularly with a top-class orchestra with a top-class conductor who's insisting on the difference between pp and ppp.798

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The late Thomas Nyfenger wrote about conductors who misjudge the type of sound and projection that might be required in a particular hall and "expend a great deal of effort sticking his non-time-beating hand out at the winds in an effort to shush them." He called this "nay-palming" and wrote: The winds end up almost sucking on, rather than blowing into, their instruments, strangling their natural sounds and mis-learning the art of orchestral playing. The audience, meanwhile, strains and hears very little.799 Besides pitch and dynamics, orchestral flutists must be extremely sensitive to and flexible with but articulation. only articulation are there many ofvariety articulation within the flutists' own music, they mustNot match stylesstyles with a of other instruments.  All instruments articulate articulate differently. So...in a general general way, try to feel feel that the wind section's articulation techniques are similar....It is an important point to try to match and feel around to [make sure] it's working. Until you play in orchestras, you don't understand the problems of articulation, you don't understand problems of balance and psychology of other people and all those things.800 Many times, flute players are asked to blend their sound with another instrument to produce a musical effect. Peter Lloyd believes that this blend, and also the overall balance of the orchestra, depends not on the principal player, but on the second chair performer. Color blend depends, I think, very much on the composer and of course...on course...on the strength of the second players. If the second player is good and strong, it's much easier to blend rather than having weak seconds. I believe...that all second players...should be quite as strong or stronger than the first players. Not everybody agrees.801 I say...in chords in the wind section, the seconds should be louder than the firsts because the firsts are always audible and we ought to build up volume from inside the wind section. It's not the first players playing louder, it's the seconds and thirds--the middle of the chord--that makes the difference...That's why you should always have very good players in the second chairs....it's the job that really makes a wind section sound good.802 Second flutists match their remember sound andto articulation to that the principal, and Lloyd reminds flutists must that they should match vibrato asof well. It's no good to play a Brahms symphony and you've got two flutes wobbling away in the vibrato in the chords at the end of the slow movements and nobody else in the winds doing it--and the two flutes doing it differently anyway! It doesn't do. It's just common sense. You've got to go with your principal and hope that your principal has some clue as to how to make the vibrato match the style of the music a little bit.... The thing is always try to underplay your vibrato.803 Lloyd adds that this attention to vibrato applies not only among the flutists, but within the entire wind section as well.804 Trevor Wye advised orchestral second flutes to "Be prepared to switch off your vibrato. Be prepared, in fact, for anything!"805 In general, the wise second flutist will assist the principal. One way is to keep track of the bars, even if the second flute part is not playing in that particular spot. Peter Peter Lloyd still recalls a second who failed in this respect:

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He never counted bars. Never. So if I got suddenly stuck, if we were playing something and we didn't know just where to come in, I'd say, "Where are we?" and he'd say, "Wha? I dunno." And I had a solo coming up and suddenly--panic.806  Always be ready ready to help. Don't ever put the knife in and hope [th [the e principal] is going to make a mistake --and then laugh.  Anything that you can do to help in a very quiet way way that doesn't show show is very, very much appreciated. As a second, your job is to make the principal as comfortable as possible.  And [in a trial], if he's got confidence confidence that you're going going to help--you'll help--you'll get the job.807 job.807 One responsibility which often falls to the principal flutist is to bring the wind section in together on a particular chord or passage. This can be a nerve-wracking ordeal, and many flutists make the mistake of trying to use their flute as a baton. You can't lead with the flute because those [players sitting] in back can't see it anyway.  And the rest say, say, "Where's the bottom bottom of your beat?" So, brea breathe the rhythmically. rhythmically.  Always.808 This is something I find very difficult with students--how to actually bring people in. They're so frightened of making a movement or a sound. And you say, go on, breathe with it and they sort of [wheeze] and there'll be nothing strong.809  Always breathe in tempo and let them hear th the e breath. Wind quintet things too. Always breathe in tempo.810  Another nerve-wracking nerve-wracking aspect aspect of orchestral playing playing is working under under the b batons atons of  various conductors. If getting along with one's fellow musicians is crucial, staying out of  the conductor's way is vital.  An orchestral player player meets many many conductors of d differing iffering abilities....It's abilities....It's very tricky for an orchestra who has the luck to play with really top- class conductors to suddenly...be reduced to having to do a cheap Tchaikovsky night out in the woods somewhere somewhere with a hopeful. Happens all the time. It's very difficult. You just grin and bear it and remember  you're getting the money the next day and the conductor is only there for one day.811 The one thing you want if you're in an orchestra is not to be spoken to. You don't want the conductor to even notice you. So the only way you can do that is by having the best section you can possibly put together, so that they will look for a weaker section. And that was true--particularly if you've got second-rate conductors coming in. Maybe a third of the time we [in the LSO] had top class conductors. The rest of the time we were doing work in the film studios and light music and vacuous God knows anything-you-can-think-of anything-you-ca n-think-of in order to make money. But even with the lesser concerts, we had some very funny conductors and it's very difficult working with them because they don't know any better than you do. The best conductors never admit it and just get on with the job.812 In theory, musicians are supposed to follow the beat given by the conductor; but in reality, some conductors are very hard to follow. Peter Lloyd's real-life solution is simple: It is important to anticipate and feel where people are going to play because when the conductor comes down [with his/her baton], nine times out of ten, you're going to be wrong. [So] don't follow conductors, for goodness sake! It's disaster.813 disaster.813 There are some conductors who insist "Follow my beat", but they don't give you a beat. They do this action [waves his arms around]. Very few of them know that we have to breathe. They don't do their homework.

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Really, what the wind section has to do is play irrespective of conductors, and use conductors for musical reasons--expression. reasons--expression. We should be able to play together with our  ears. Everything should be with your ears. That is the safest way. You can hear people breathing, and very soon you get the feel of when that oboe player is going to be coming in.814 No matter how difficult or stubborn or egotistical a conductor may be, the orchestral player must bear with the situation. I think the psychology of it is to try to understand conductors' conductors' weaknesses rather than us [players] standing uphave for our own rights. It's hard I thinkayou have toofunderstand so often conductors to be right because he'sbut leading collection ninety-odd that people and we can't actually stand up against him, whatever we feel or whatever we know.815 I've talked about alienation of the species. Try not to. It's not worth it.816 On occasion, difficult conductors may not be reacting to the orchestra at all--even when they seem to be. Factors completely unrelated may have been taking a toll on an otherwise reasonable human being. Peter Lloyd tells of such an occasion: It got tougher and tougher. If anything wasn't right just from the beginning, he'd start throwing a tantrum....We discovered--because discovered--because we didn't understand what had gone wrong--that wrong--th at he'd had some sort of big issue at home in Russia and he'd been demoted from being conductor of [a major orchestra] to being sent out to the provinces to conduct a youth orchestra. And he was taking it out on everybody.817 With all the difficulties, Lloyd recalls other times when conductor and orchestra worked magic together. You've got people who are totally nice and just accepted the players in front of them, and we found that the orchestra always responded and played--beau played--beautifully--for tifully--for them, because they were warm comfortable conductors who appreciated you. There weren't many like that, but the better conductors were.818 No matter what the situation, orchestral players must be listening l istening at all times in order to be in control of the musical situation. You know, generally in an orchestra...you orchestra...you don't have a lot of rehearsal, pre-rehearsal, pre-rehearsal, because it's there your do ear, in your listening. And I think that this is ninety-five the dangerpercent that does happen if youindon't much orchestral playing. You forget that of what you're doing is listening, and fitting. You're always subconsciously aware of  what's happening all about you. You're not following a beat. You're not following a conductor. Conductors Conductors are there to show you phrasing and music, they're not there to keep a sort of martial beat all the time. And honestly, if it's free, you're going to get it....You automatically follow what you're hearing. If you're not a prominent part, you're following whatever is. I remember very early on having a problem of ensemble on something and asking [a colleague], "What's going on?" I wasn't comfortable. The ensemble wasn't together. And he said, "Listen to the second trumpet. That'll help." Well, I hadn't noticed that. And then I did and everything was okay. And it's only doing it day by day and listening. If you get stuck, look at the score. Learn the score. You'll see lots going on, and then you'll know where you are. Really, it's not as difficult as all that.819 TOP  Main Index TOP Playing Selected Selected Orchestral Works

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In his orchestral classes, Peter Lloyd has worked with flutists on major works that have prominent flute parts or sectional ensemble problems. The "orchestra" part is taken by a pianist, while as many flutists and piccoloists as are needed play the normal orchestra section's flute parts. From these sessions have come advice about several works. The following are selections from these classes, in which Lloyd shares his lifetime of experience playing these works. TOP  Main Index TOP Debussy De bussy : Prelude to Afternoo n of a Faun OneAfternoon of the biggest solos faced by orchestral flutistsalone, is Claude Debussy's work, Prelude the of a Faun. The flute starts the piece and the first note is one of the to worst on a flute--open C-sharp. Plus, according to tradition, the flutist must play the opening phrase in a single breath--although breath--although in actual performance most flutists take this admonition with a grain of salt. Seriously, the breathing thing--I thing--I think it an un-useful thing to have to play it all the way through in one line. I think the allowable one is to take it i t before the [last three] "waspy" notes because that's actually a pickup into the oboe solo. I remember working with [a particular conductor] and he insisted on me taking two breaths. Actually, there is a copy that has a Debussy suggestion on the breath. [Peter  Lloyd sings the first ten notes of the solo and stops.] That's where [the conductor] made me do it. And then another one before the last three notes. But he made me play it very slowly, with absolutely buckets of passion. It was really quite a good thing. When I first played this piece with him in our first rehearsal, I played it in one breath because that's the way we "had" to do it, the way everybody else did. He looked up and said, "What do you think you are doing? This is music, not mechanics. Play it again."820 I think it's stupid playing like this--told that they've got to play it in one breath. Having said that, at an audition, you're [still] going to have to do it in one breath!821 Even for flutists who plan on taking one or two breaths within the opening phrase, Peter  Lloyd cautions that a completely full breath at the beginning is a necessity. If you're playing Après Midi for instance, I would [begin with] two breaths. Take a good long slow one, and then [just before playing] take another one. When you're taking your  long slow one, you're almost full. But then the muscles relax just a little bit--and that was always enough to get [me] through when the conductor wanted [the opening phrase] in one breath.822 Besides breathing, the most tension-producing moment of this work is coming in with color and life on the worst, most out-of-tune note on the flute. Peter Lloyd shares how he prepared himself for this task: In performance, before I would start playing this, I would always--while always--while the crowd was still making noises out there--be touching top G's as pianississimo as I could....Anything to get the embouchure [extremely] small, so that when the conductor came on, I knew that I could start as economically as was possible and have enough air to make the phrase.823 In this way, Lloyd was able to keep the air speed going fast enough to keep color and life in the sound. But by sending it through the smallest possible openin opening g he was able to conserve his resources without undermining undermining that sound.  A third daunting experience in th the e same solo is its dynamic dynamic marking--"piano." marking--"piano." Some players are encouraged to enter almost inaudibly, while others ignore the marking completely in order to project the sound. Peter Lloyd reminds flutists that changing the sound of the flute with different colors can imply a dynamic.

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I think you have to be very canny about the... definition of dynamic markings. They're not only dynamic markings. I think if you're going to pull it off, don't think of them as "piano" and "forte"--because the way we translate it, the forte is far too loud. So it doesn't work. I think you'll find that pianissimo is a beautiful soft color with life; [with] something happening. It doesn't matter if it's desperately quiet. You have to sing. If you start the piece off and it just said "piano", what does that mean? You cannot play piano unless you've got something to compare it with--something with--something to balance it....I think in this case it's an expression as much as anything.824 TOP  Main Index TOP Ravel: Ra vel: Daphnis and Chloé Suite  Another prominent prominent flute solo may may be found in Maurice Maurice Ravel's D Daphnis aphnis and Chloé. The only sounds accompanying this solo are a muted, repeated chord in the strings--an almost "white" sound. The flute stands out in contrast. This most rewarding of solos can also be most terrifying, particularly with its opening sweep up an A-major scale to a third octave A, all marked "piano." Peter Lloyd urges flutists to remember what is happening in the ballet at that point, even if one is playing the orchestral suite. You see, in Daphnis...it's called piano expressivo. What does piano mean in that relationship? It's got to be relaxed. You have to feel that Daphnis is stretching himself. He's waking up. He's on the mountainside...and mountainside...and nothing really happens in that solo for  half of it. And then you suddenly have the scale going up to forte--with forte--with intensity. Well, that's because he has suddenly spied Chloé. Piano in this case is relaxed, stretching, gentle --partly the atmosphere of the early morning and partly waking up. It doesn't need to be quiet, see? Think of [the dynamic] as being gentle. Pianissimo mustn't be a frozen pianissimo. It's a romantic pianissimo.825 Some editions of the opening scale are marked as a simple A-major scale, while others include an E-sharp, which makes the passage an F-sharp minor scale. Flutists are always worried that the scale they choose will be the "wrong" one. As Peter Lloyd says, "Okay--F-sharp "Okay--F-shar p minor or A-major? Whichever you like. Apparently, [Marcel] Moyse asked Ravel to choose which was right and Ravel said, 'Oh, I don't care.'"826 No matter which version is chosen, the opening scale is a frightening frightening experience for  many flutists. You see, you're tightening because, "Oh God, it's got to be pianissimo!"827 pianissimo!"827 Before you start off, you've got two and a half bars of [sings string bass part] and everybody in the audience is very quiet. And everybody in the orchestra's orchestra's got a grin on their face. They're hoping you're going to wreck it! [laughter from class]828 Just as in Afternoon of a Faun, breath [or lack thereof] can be a problem in the Daphnis and Chloé solo. The important thing to remember is whenever you breathe on big long solos, to look back. There's no point trying to breathe at the last second when you've got to play. Breathe big before you start the solo.... You've got a whole bar of rest to get enormously full. Then [later] you just top off. You should be able to get all the way through, keeping the other [subsequent] breaths short.829

 As if the principal flutist flutist does not have enough to contend contend with, sometimes sometimes a conductor  conductor 

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will insist on trying to beat time while the flutist is playing. Peter Lloyd feels that this is a mistake. The problem with conductors and this [solo] is that they have to llose ose their ego. They keep trying to conduct it, when all they should be doing is conducting the basses. Keep the basses in one place, then the flute player can play around the basses. Then we've got loads of possibilities as to how to play it really free. But with the conductor trying to follow the flute and the basses trying to follow the conductor, they get slower and slower and...slower.830 Lloyd has shared some shorter tips on the orchestral solo passages that follow: TOP  TOP Main Index Stravinsky: Petrushka The thing to remember is, the puppeteer is introducing the two puppets. [And]...the rising arpeggios indicate Petrushka's introduction and the downward arpeggi arpeggios os are the introduction of the other puppet. So it's quite free. That's the choreography I see and I've always been told about and I've always done. [So] don't worry about being so precise.831 Strauss: Til Eulenspiegel's Merry Pranks You'll find quite a lot of third flute solos in i n this, you know. Push them out--hit them out! Knock them out! All of a sudden you think "Oh, I'm in the wrong place," because the others have gone deedle-um. But it's not. Funny piece, Til.832 TOP  TOP Main Index Mendelssohn Me ndelssohn : Scherzo movement from Midsum mer Night's Dream When you play Midsummer Night's Dream, make sure that the first breath isn't just enough to get you along the first phrase, but huge. As big as possible. So that when you take your next breath, you're topping up to your top. And when you take your last breath, again it's topping right up. Then you'll get through easily. People don't generally think of  that. They think of getting enough air in for the first bit, then later they've only got time to fill up halfway. They never have enough in store to do the last long one. Every time when you have a chance to get a decent breath...make it as big as you can.833 TOP TOP  Main Index Hindemith: Symphonic Metamorphosis The thing to remember about that line is that it's obbligato. So the line, the tune, is down in the bassoons and then we crescendo at the end. So whatever rubato they do, we have to follow along here. And if they suddenly do something funny, we've got to go with them.834

TOP  TOP Main Index Schoenberg: Wind Quintet The second movement is all piccolo. And there are two solos in there that go down to bottom D-flat. What you do is play D, and then bring your [right] little finger around and plug up the end. You've got to bring your little finger round the corner and cover it as much as you can.835 TOP TOP  Main Index Playing Recitals Most flutists, no matter what their career path, will be called upon to play a recital at some time. One of the most important parts of playing any recital is planning the

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program. A well-planned program allows flutists to be at their best and allows the audience to be both enlightened and entertained by the performance. Peter Lloyd has both played and attended many recitals, and feels that it is time for a change from the "chronological" recitals that take an audience on a virtual trip through time, in order, from Baroque to twentieth century. I don't think it's a good idea where you work chronologically. You start with your Bach, maybe move along up through your Schubert variations...and then come along to Reinecke and go on to the Martinu and eventually maybe you do a contemporary contemporary piece. I think it's all wrong because...with an instrument like the flute, it gets very boring.836 Typically, many flute recitals begin with a work by J.S. Bach or another Baroque composer. Peter Lloyd believes this to be a most unwise choice. I'm certain it's wrong to play a Bach sonata first. When you go on in the beginning I think you're much too nervous, and to do a good Bach sonata really well is difficult--very difficult. In order to make things go well for you, don't play a difficult piece for a starter. Play easier pieces to start with...that you can suddenly open out and be happy and start to breathe easily and feel comfortable. Then when the appropriate moment comes, then play your Bach or your Couperin, because it needs so much more care and decision and thought! I don't think it matters what you start with, but don't start with Baroque--unle Baroque--unless ss you're doing a Baroque program! Then there's not much you can do except choose an easy piece that you can start with.837 Lloyd believes that the more variety one can put into a recital, the better. He advocates putting stylistically contrasting works side-by-side on a program, so that the audience does not feel that they are hearing an historical timeline. This is an age of easy accessibility to a wide range of musical styles. The flick of a radio dial or television remote sends widely varying styles into the homes of the general public every day, so a program that does not adhere to a timeline is much less of a shock to an audience nowadays than musicians think. Break [your works] up so an audience hears different styles of playing--from one piece to the next, that all the wayoffers through. And don't forget to put in your unaccompanied nied piece, because again change, variety....Think about it. Itunaccompa makes life so much more interesting for the audience. Don't ever play two pieces that are very similar in style close together. The flute is too boring.838 When programming in this way, flutists are cautioned to use all their resources to bring out changes in style. Varied articulation, color, phrasing, and dynamic ranges can be incorporated to make a memorable recital. For my own taste, I honestly get bored to tears with a recital of seventy or eighty minutes of flute playing where every piece sounds the same. I think it's perfectly possible now to think stylistically and change your styles between one piece and another.839 The way recitalists present themselves onstage can set up the audience's perception of  what they are about to hear. Peter Lloyd finds that this is a neglected area. Besides having a positive entrance and general stance, Lloyd suggests addressing addressing the audience as a mutual ice-breaker. When Mrs. Gilbert...gave two classes on voice projection and demeanor...and demeanor...and actually watched people walking on and presenting themselves it was absolutely fascinating.

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Hardly anybody did it well. People found it so difficult to express themselves speaking--to speak out. I think that's something you all need to think about. It helps...if you are playing for an audience...if you do say a few words about the piece. It does help relax the atmosphere somewhat. I found that out...in America, because that's the first time I started speaking before concerts at recitals, and people were immediately on my side....very sympathetic sympathetic vibes coming back at me instead of that total first moment of terror of walking on and feeling all sorts of shaky. It does help.840 Female recitalists often dress in very expensive gowns. Peter Lloyd cautions that the stage lights are apt to pick up any reflective material and glare--sometimes glare--sometimes painfully--into the audience. This includes gold watchbands, earrings, and even a highly polished flute. But the worst offenders are sequined gowns coupled with flutists who use a great deal of body movement while playing. Whatever you do, do not ever wear spangles. Sequins. All those shiny bits that you ladies wear. I mean, the flute is brilliant with light, you've got lights up there in a big concert hall, and all the light flashing off the flute...it really destroys any slow movement....It's movement....It 's a bit too much.841  An outfit that seems seems lovely at home may present unforeseen unforeseen problems problems onstage. onstage. For  instance, Nancy Toff advised that female flutists might be better off wearing a skirt and blouse combination rather than a dress during recitals, "so that their skirts do not hike up when they raise their flutes."842 Recitalists naturally want to be heard by their audiences. The vast majority of flutists feel that they will be overpowered by the sound of the piano, so they keep the piano lid down as far as possible during recitals. Lloyd agrees with Trevor Wye that this is a mistake--the lid should be opened completely. If you stand in front [of the piano], the sounding board of the piano will help project your  sound....It really does make a lot of difference. And if you think that you've got a small sound....you'll find that standing here, you can count on extra sound. Also, if you're playing something and you're thinking "Gosh, I want a bit more color..." you just gently turn slightly and you get--with the pedals on--some very interesting effects. In a big hall it's fantastic, because the sound will go much further than the piano's. So often you know, with the lid down, the piano gets squashed--and squashed--and our sound disappears around the back of it. It may be more painful to you playing there, but I can promise you it'll sound much better.843 TOP  Main Index TOP Mental Barriers and Stage Nerves One of the most trying circumstances in the life of any performer is to have a work ready to near-perfection, only to have it marred by performance nerves. Wh Whether ether during a solo recital, an exposed passage in an orchestral work, or in a chamber performance, stage nerves cause performers to question their choice of careers. Peter Lloyd has also faced what he terms "the pearlies" and is fully aware that many times it has nothing to do with fear. "These things suddenly take over for no reason. I've no idea why. Maybe I was very tired...maybe that set up something...I don't know why."844 What an audience may not know about even top-notch soloists is that the confident, outgoing stance they show the audience is not their backstage demeanor.

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Everybody's nervous when we go on. I mean if we're actually truthful, we are nervous. I remember very well watching various pianists in my orchestral days back of the stage before they went on....and then they walk on and look so happy. [One performer] used to have little hot water bottles in his sleeves...and sleeves...and then he'd walk on and have smiles for everybody. Incredible. It's an amazing act, you know. The message of course is that we've got to find a way to control [nerves] so it doesn't affect our playing or the way we appear to show ourselves to the audience.845 Showing yourself to the audience appearing totally confident and comfortable comfortable makes them comfortable too, and that's when the vibes come back good.846 Peter Lloyd feels that if performers can control their breathing and start with a good sound, they can break the tension of performance nerves and begin to calm down. I think that above all, try not to concentrate on the fact that you're feeling nervous, but go back to thinking free breathing. Try to relax that. If you play your first few notes well, you feel more comfortable with the color. More relaxed.847  Actually the control control of the adrenaline adrenaline flow is difficult. Sometimes...it Sometimes...it is hard hard to calm yourself down. But the only way I've found to cope with it before a concert is to do slow, deep breathing....I always always say that if you can play your first two or three notes with a deep breath, you will sound okay and you'll relax and then it's easy.848 Rather by accident, Lloyd found that another cure for stage nerves is anger. I'd been dreading [a concert] because I'd had an operation and hadn't been practicing and really I was so nervous. And then I had this mighty row [argument] with the manager  of a hotel about a stupid phone bill with them wanting to charge me fifty cents before I was going to be allowed to use the telephone. And I got so angry that when I walked on that platform...I had no problems at all! What you need to do is find a way of distracting yourself--have a row with your [spouse] about an hour before you go on!849 One habit almost guaranteed to bring on the "pearlies," Lloyd says, is being obsessed with the music backstage. If you're playing a recital you've been practicing all the music for ages and ages. Don't take it to your dressing room and refer to it. Don't keep it with you. That makes it worse, because there you are, "Oh, I've just got to get this one little bit." Like as not, you're going to be twice as nervous about that passage as you would have been if you'd left everything on stage.850 Peter Lloyd advises flutists to practice concentration, just as they would practice a difficult music passage. In his Manchester flute studio, Lloyd uses etudes to build stamina and concentration. If you can get through [an etude] perfectly, playing it to a class of flute players, you're doing fantastically well, because you'll never do anything harder.  Any piece of music unless it's Bach has g got ot rests. And so you you pick up re-concentration re-concentration before the next phrase. With an etude, you start here and you finish there and you just keep going. And what happens is...most people will play the first 2/3 or 3/4 of the thing perfectly. And then you watch--they'll become more and more tense. "I'm going to reach the end! I'm going to make it! I'm going to make it!" And then they fall on their faces. Very few people seem to be able to [play it] perfectly. Try it.851

The flutist who learns to keep tension under control until the end of an etude will know

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how to control tension in concert situations. TOP Main Index TOP  Playing in Diff erent erent Halls It is always wise, particularly in a recital situation, to check the size and acoustic properties of the hall where the performance will occur. This is especially critical when a performer is on tour. Peter Lloyd advocates slight changes in tempo and in articulation to make up for varying acoustical properties among halls. [One's playing] has got to be conditioned very much by the acoustic you're playing in. You can't play very fast in a cathedral because it's just washed out. You have to hold back. Otherwise, it just goes sweeping by. You have to be very careful about acoustics...Suppose you're going on tour? You've got different acoustic conditions. You're playing in a theater one night with a curtain and then the next day you've got a nice concert hall with hard walls and a hard floor and very singing acoustics. Remember when it's much more resonant, be much more clear. Be a bit shorter [with articulated notes]. I think it's a very important point that we tend to forget. We go practicing away and the program is fantastic in the little practice room--and room--and then you go out into the hall and it's terrible. So whenever possible, check out the hall.852 TOP  TOP Main Index Practice Peter Lloyd's practice regimen is similar to that of Geoffrey Gilbert's, but varies in its order. Gilbert's practice regimen was as follows: tone studies, scales and technical studies, etudes, and solo works.853 Peter Lloyd reverses the first two. I always say do your scales first rather than do long note slurs which are far more difficult and need far more sensitivity and control. Get your lips warmed up while you're doing all the scale stuff...and get your scales done. And then get on to the really hard stuff, which is doing long tones because there's nothing more difficult than standing and breathing and understanding how to put together the color and sound. Practice that, and then go on to your etudes and pieces.854 Peter Lloyd advocates many hours of practice, but he sees no sense in drilling away hour after hour, leading to flute "burnout" or physical injury. Instead, he suggests breaking practice sessions up into blocks of time in which one is awake and aware, and then taking some time off. This allows the body to unwind from what is, after all, an unnatural stance, and it allows the mind to stay flexible. I believe that you have to have time to relax while you're practicing. If I expect people to do four hours worth of practice--of concentrated work--it takes six hours to do it. You see? It's no good just standing there and putting your clock on and going "Oh, there's an hour and now another hour--and I can go soon!" You have to practice according to your  own ability to concentrate. When you can't concentrate because you're tired or other things are crowding into your  mind...there's no use practicing beyond that limit....You've still got several years of time to practice. My point is patience. If you learn to practice in twenty-minute stretches because you can't do half an hour, take time off after twenty minutes...settle minutes...settle yourself down. Take your mind off of it. Why don't you do a breathing exercise, instead of setting yourself up with [another work]? Enjoy your practice. It seems like [people think] "Have I done this? I've got to do that.

Enjoy your practice. It seems like [people think] Have I done this? I ve got to do that.

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Have I cleaned my teeth today? Have I done my scales?" You must never be a drudge. It must always be interesting and it must always be productive, you see.855 For many flutists, time is at a premium. There is simply no room for a four-hour  regimen--especially regimen--e specially one that takes six hours to complete. Peter Lloyd is very aware of  this problem. His method for keeping one's flute skills sharp during busy times is as follows: What do you do if you've only got an hour to practice a day? I do think that you have to find time, at least five days a week...to practice scales and do scale exercises, and to do a certain amount of sonority. I think you can do a tremendous amount of sonority on pieces that you learn. I think the first thing you'd probably give up is the etudes. I think they're terribly important, because certain other folks do claim that they do help people to play easily and with confidence. But I think that's the first thing you do--give up etudes. And then you do a lot of your sonority and your careful hard work [with] articulation on your pieces. But I do think that the scales are important...If only to keep your fingers free. It's the freedom and the fact that when you face scales you are learning to face lines of sixteenths evenly....I can't give you a blueprint beyond that.856  After warming warming up on scale exercises, exercises, Lloyd believes in working on the the difficult part of  flute playing--long tones. He feels that, by beginning with scales, flutists warm up their  bodies to the point where control is possible. Only after that has been done should long tones be attempted. He feels that long tone exercises are too taxing to be played "cold." Get students to do their scales for at least an hour....because in the process of doing that, you're getting free. Your muscles are relaxing, your lips are relaxing, and everything's free. Then after that start doing your sonority because then your  mouth--your whole system of blowing--is ready for it.857 Students often neglect this aspect of practice, feeling that playing long tones is beneath them. Sonority is the hardest thing to understand....Supposing understand....Supposing you do practice your long tones. You start off in the morning and you think, "Okay, better get my long notes done." [There, Peter Lloyd plays once, carelessly, and then adds some vibrato, equally carelessly.] It's incredible howthey've many people do just that. And itthey very sound...because got nothing to compare with, andsoon thenget youused startto tothe accept it.858 Just as the terms "embouchure" and "technique" incorpora incorporate te several aspects, "long tones" are not simply a test of breath and endurance. They also help build a repertoire of  tone colors [timbres], dynamics, tuning, expression, and even various types of articulation. Try to think that it's not just a question of making a beautiful sound. Work on that [sound] in different dynamics. Try different controls of articulation within those.859 Peter Lloyd learned control of tone color through long tone studies with Fernand Caratgé. Caratgé used to make me play on...the extremes of color. [He'd] try to make me work the most disgusting hard ones, in that color, through the whole dynamic range. And then again to work in [a contrasting color]. But it is desperately important that we don't just play a medium color--a medium dynamic. That really is not what music's all about. We have to take risks. You'll find when you listen to the best players, what risks they're

taking musically. Listen to them playing a pianississimo. Listen to the intonation and the

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color that they're producing. Listen to the bigger sound, too.860 Peter Lloyd feels that, especially in the middle and upper octaves, many flutists tend to aim their airstream too high and lose the richness of sound present in the lower  harmonics. Long tones provide an opportunity to solve this problem. When you're warming yourself up, work from below. Start to hear the lower harmonics in the sound. And if you start [your] sound and it isn't quite as well done as the end of the previous one, do it again. Make sure it comes back to the same position. Don't be lazy and...let the colors go.861 The control gained through long-tone studies provide the tools performers performers need for  maximum artistic expression. I've not made a big enough issue in past classes about this point. It's very hard wherever  one goes to get people to understand how important it is...because in our career, whether you're a solo player or an orchestral player, you'll need the biggest range of dynamic and color that you can find.862 Marcel Moyse's book De La Sonorité863 is an excellent source for tone study exercises. Lloyd cautions flutists not to blindly start on whatever note Moyse wrote first for each exercise, but to personalize each study for themselves. Flutists should remember that this book was written for himself and for his sounds. He used that B-natural in the middle octave because that was a very good note for him.864 When one has gained a certain amount of control over tuning, dynamics, color, and articulation, study of Marcel Moyse's book of opera arias, Tone Development Through Interpretation865 Interpretation 865 should commence. When flutists begin the third phase of Peter Lloyd's practice pattern--etudespattern--etudes--they -they usually begin practicing them too fast. Lloyd recommends tying long tone studies and etudes together the first time through an unfamiliar etude. When you're learning an etude...rather than running through the thing and looking for the difficult bits, get familiar with it by playing it as long notes. You'll find that...the connection of intervals when you get faster is that much more effective because you know the sound colors that you're trying to hear.866 Thomas Nyfenger advocated a slow read-through. Discover where the most difficult parts are, not by tripping over them several times, but by taking note of them during the first slow reading and MARKING THESE AREAS FOR EXTRA CARE [capitals are Nyfenger's] so as to avoid the common pitfall of the mistake-ridden play through.867 Slow practice is not a waste of time--it is a time saver. Peter Lloyd feels that slow practice can keep flutists relaxed during the learning process. By practicing phrases correctly at a slow tempo initially, flutists will tend to practice them correctly--and stay more relaxed--as phrases are played at increasingly faster tempos. Don't, don't, don't, don't play too quickly too soon....[Take] a really difficult piece that you've never played or a study that you've never played, and use it as a tone study. Use it for intervals. Use it for colors. Use it for anything else you can think of, but keep the tempo back and only bring the tempo up bit by bit. It's all psychology. There's a nasty little man that lives up [in our heads] you know. And he looks at these things sometimes and he tells you, "You can't play that. It's too difficult." And you've just got to learn how to beat him, because he's really wrong.

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Try something really, really difficult....Try getting it down to where you don't make a mistake because it's so easy to read. And you'll be amazed how quickly you learn the piece right. That type of slow practice is very good. Now the guiding point is to play it perfectly relaxed. If the fingers start twitching, then you've gone wrong. It's too fast. It's got to be relaxed. Totally relaxed. Be patient. Move your metronome up slowly. I know most of you are impatient. But it is a point, it is a way that works, and I do honestly put that suggestion to you. Try it.868 Remember, every person in the world can play everything that's been written--provided that it is slow enough.869  Above all, the wise flutist will attempt to to play even the most most dull etudes etudes musically. "Practice and play etudes like they are solo performances," Geoffrey Gilbert advised.870 Thomas Nyfenger wrote: Discover music in these pieces. Yes, I said pieces....If you can make music out of these etudes, you can charm a stone when applying your skills to some more performable repertoire.871 Flutists should use etudes to practice aspects of their playing that need work, rather than struggling with those aspects on solo literature. Etudes are perfect vehicles for  experimentation that leads to improvement. They will reveal the work to be done, not the impossibility of achieving one's goals. As Thomas Nyfenger wrote: "Neve "Neverr allow the flute to dictate to you what can and cannot be done."872 The final aspect of the routine is practicing solo repertoire. Geoffrey Gilbert accorded this aspect of practice no more time than etude work; if the other aspects of playing have been achieved, solo work will be the easiest part of the practice routine.873 routine.873 Lloyd adds the following advice from Geoffrey Gilbert: "Remember "Remember,, practice difficult pieces, but play easy ones."874 Often, in solo literature, flutists experience difficulty playing two notes against three in the piano or orchestra--or four against seven. Peter Lloyd worked cross-rhythms out on graph paper. Beginning with large-scale, duple beats, he used the graph paper lines l ines to determine exactly how beats divided into triplets and sixes, and then into fives and sevens, matched up against one another. With this chart Lloyd was secure when called upon to play any beat division against another--even another--even such exotic combinations as sevens against fours.  As he said: You can be exact....And then you can start thinking, "Right, I'm going to go two against seven," and work that up. In other words, you've got in front of you all the combinations that you use, and [you] take it up to thirteen. It's really very important to try to understand, to see where the rhythms are.875 TOP Main Index TOP  Playing with Tension Most musicians are always trying to improve their playing. This constant striving means that occasionally, during practice, musicians work themselves into a state of tension. Peter Lloyd breaks that tension by playing while lying on the floor. If you have problems with articulation or problems with breathing, just lie on the floor and do it because you're totally relaxed. You're not standing, holding yourself up. You're not trying to stop yourself falling.876

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Chronic tension is another problem altogether and is one of the hardest habits to break in flute playing. Peter Lloyd advises flutists--as Geoffrey Gilbert did--to start from a point of  success. What you've got to do is go back in your practice and playing to a stage and a tempo where you can play slow enough for it to not happen. In other words, slow enough for  you to be able to concentrate on it. [As soon as] you start playing quicker notes, then the problem is going to come back. It may take a month. It may take two years. You never know. But the point is, if you break that sequence of practice where you're very slowly developing that relaxation, relaxation, if you break that, you've gone back.877 On-the-job practice is an aspect Lloyd has had to face for most of his professional life. As a "no play, no pay" organization, the London Symphony Orchestra had a grueling schedule where much of the playing was practically sight-reading. Lloyd quickly learned how to make the most of his time during rehearsals. You know in the orchestra we did an awful lot of session work on films and whatnot, and there were times when you walked in there in the early morning and you hadn't had the music...and you're looking at this dreadful mass of black and you knew that it was supposed to be in the can [recorded] in the next half hour. And it had to be there, and it had to be right. So, while the strings were trying to figure out their own notes and bowings, you're very carefully going through...looking for wrong notes--looking for notes that didn't belong to the chord or scales.... working very slowly, very concentrated.878  Above all, flutists should should never stop str striving iving to better themselves. themselves. Many Many times in the rush rush of teaching, concertizing, freelancing, or negotiating the maze of paper in classroom situations, flutists are drained of time and energy and practice suffers. James Galway writes: You must learn to need practice, just as [without troubling to learn it] you need to eat and sleep. When practice has sunk into your routine to this extent, we are really getting somewhere.879 One of the reasons Peter Lloyd keeps his masterclasses open to both students and professional flutists is the realization that even professionals need a "thousand-mile checkup" now and again to make sure that bad habits have not crept back into their playing. Peter Lloyd has distilled the best advice from his teachers and his own experiences into a wealth of knowledge which he has freely shared in classes, private lessons, and through this paper. His generosity and kindness kindle such enthusiasm for the art of  flute playing that flutists under his instruction gain rapid progress. Moreover Moreover,, this progress is accomplished with joy instead of fear and frustration. It is hoped that this work will bring Peter Lloyd's ideas to many flutists who may then benefit more directly from his teaching. 768 Wye, Proper Flute Playing, 26. 769 Masterclass notes, 6/95, Class 1. 770 Ibid. 771 Ibid. 772 Wye, Proper Flute Playing, 27. 773 Masterclass notes, 6/13/95, 5 P.M. 774 Toff, 182.

775 Masterclass notes, 6/13/95, 5 P.M.

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776 Masterclass notes 6/14/95, 5 P.M. 777 Ibid. 778 Ibid. 779 Wye, Proper Flute Playing, 26. 780 Masterclass notes, 6/14/95, 5 P.M. 781 Ibid. 782 Ibid. 783 Ibid. 784 Masterclass notes, 6/21/94, 8 P.M. 785 Morris, 52. 786 Masterclass notes, 6/15/95, 5 P.M. 787 Masterclass notes, 6/13/95, 5 P.M. 788 Ibid. 789 Ibid. 790 Galway, 194-5. 791 Masterclass notes, 6/16/94, Evening class. 792 Masterclass notes, 6/21/94, 8 P.M. 793 Ibid. 794 Masterclass notes, 6/16/94, Evening class. 795 Masterclass notes, 6/14/95, 5 P.M. 796 Ibid. 797 Ibid. 798 Masterclass notes, 6/13/95, 5 P.M. 799 Nyfenger, 30. 800 Masterclass notes, 6/15/95, 5 P.M. 801 Ibid. 802 Masterclass notes, 6/26/94, Technique class. 803 Masterclass notes, 6/14/95, 5 P.M. 804 Additional taped notes, February 1998. 805 Wye, 26. 806 Masterclass notes, 6/14/95, 5 P.M. 807 Ibid. 808 Masterclass notes, 6/22/94, Morning class. 809 Masterclass notes, 6/15/95, 5 P.M. 810 Ibid. 811 Masterclass notes, 6/16/95, 5 P.M. 812 Masterclass notes 6/15/95, 5 P.M. 813 Masterclass notes 6/14/95, 5 P.M. 814 Ibid. 815 Masterclass notes, 6/15/95, 5 P.M. 816 Masterclass notes, 6/14/95, 5 P.M. 817 Masterclass notes, 6/15/95, 5 P.M. 818 Masterclass notes, 6/13/95, 5 P.M. 819 Masterclass notes, 6/15/95, Evening class. 820 Masterclass notes, 6/17/95, Morning class. 821 Ibid. 822 Masterclass notes, 6/13/95, 5 P.M. 823 Masterclass notes, 6/17/95, Morning class. 824 Masterclass notes, 6/17/95, Morning class. 825 Masterclass notes, 10/29/94, Performer 6. 826 Masterclass notes, 6/26/94, Evening class. 827 Masterclass notes, 10/29/94, Performer 6. 828 Masterclass notes, 6/26/94, Evening class. 829 Masterclass notes, 6/26/94, Evening class. 830 831 Ibid. Ibid. 832 Masterclass notes, 6/14/95, Morning class. 833 Ibid. 834 Masterclass notes, 6/15/95, Evening class.

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835 Masterclass notes, 6/14/95, Evening class.

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836 Masterclass notes, 6/21/94, 8 P.M. 837 Masterclass notes, 6/15/94, 5 P.M. 838 Masterclass notes, 6/21/94, 8 P.M. 839 Masterclass notes, 10/29/94, Performer 3. 840 Masterclass notes, 6/21/94, Morning class. 841 Masterclass notes, 6/25/94, Evening class. 842 Toff, 174. 843 Masterclass notes, 10/29/94, Performer 1. 844 Masterclass notes, 6/15/95, Morning class. 845 Masterclass notes 10/29/94, Performer 2. 846 Additional taped notes, February 1998. 2. 847 Masterclass notes 10/29/94, Performer 848 Masterclass notes, 6/15/95, Morning class. 849 Masterclass notes, 6/15/94, 5 P.M. 850 Ibid. 851 Masterclass notes, 10/29/94, Performer 2. 852 Masterclass notes, 6/26/94, Morning class. 853 Floyd, 126. 854 Masterclass notes, 6/21/94, Morning class. 855 Masterclass notes, 6/16/94, 5 P.M. 856 Masterclass notes, 6/21/94, 8 P.M. 857 Masterclass notes, 6/95, Class 4. 858 Ibid. 859 Ibid. 860 Ibid. 861 Ibid. 862 Ibid. 863 Marcel Moyse, De La Sonorité (Paris: Alphonse Leduc, 1934). 864 Additional taped notes, February 1998. 865 Marcel Moyse, Tone Development Through Interpretation (New York: McG innis & Marx Publishers, 1962). 866 Masterclass notes, 6/15/94, 5 P.M. 867 Nyfenger, 122. 868 Masterclass notes, 6/16/94, 5 P.M. 869 Additional taped notes, February 1998. 870 Floyd, 124. 871 Nyfenger, 122. 872 Nyfenger, 122. 873 Floyd, 130. 874 Additional taped notes, February 1998. 875 Masterclass notes, 6/26/94, Morning class. 876 Masterclass notes, 6/15/95, Technique class. 877 Masterclass notes, 6/95, Class 3. 878 Masterclass notes, 6/16/94, 5 P.M. 879 Galway, 111.