Tuesday, March 03, 2015

Old flute dying, need new flute?

Do I need a new flute? My old one is a bit dying.

And why does my old flute sound better
when I compare it to my friend's flutes?

Hello Jen, I'm a big fan of your web pages! I know that you receive too many questions, so I understand if you're unable to answer mine.
I'm a re-beginner. I played a lot in high school: bands, all-city orchestra, solo and ensembles. Since then I've played for short bursts then stopped again. A couple years ago I joined a community band to get back into shape. I haven't been satisfied with my progress. I anticipate retiring in 6 months and having more time to focus on the flute and regular practicing. 
To that end, I'm thinking of:
1) taking lessons (I just started creating my own lessons of breathing, long tones, scales, etudes and solos, starting with easy stuff)
2) buying a new flute. I can afford to spend $1500-$2500.

My question is about choosing a flute. My 50-year-old flute is an open-hole silver Artley of the vintage now considered a poor choice, and it's true, it's hard to stay in tune. A friend loaned me her 13-year old Jupiter, and her brand new Azumi AZ2. I spent a couple hours playing all 3 flutes, playing the same tones, scales, etudes, and solos. 

My old flute sounded best! Is that just because I've gotten used to its idiosyncrasies? Or my ear isn't good enough? I preferred the ringing tone of my Artley, and I even noticed in one piece where I slurred from middle D to the B above that my fingers moved smoothly on my flute, but with the Azumi, I could consistently hear a sloppy miss with the right hand.**

Now I'm questioning whether I'll be able to make a decision at a big flute shop. Do you have any suggestions for me? Thank you,  S.
Jen's reply:

Dear S,
Your question is asked perfectly!
You are describing EXACTLY what happens over and over again to every new re-starter!
You have hit the nail on the head totally. And for sure, this is a question that haunts us all;

How can I tell if it's me or if it's the flute?
I could write a BOOK on this.

The absolute way to answer this question is fairly easy though: Have a professional flute teacher play test your old flute (see no. 4 and 5 below) . You don't need a whole lesson for this, just ten or so minutes of that teacher's time.
You'll want to first find that teacher or professional flutist, book them for fifteen minutes, and ask them to tell you exactly what's wrong with your flute. Or go to their recommended repair technician and ask them what is wrong with your flute. You will find out almost immediately, and be able to make an informed step forward.

Failing that, there are a series of intelligent steps you can take. So let me just speedtype my way through the basics.
This is called the "Buying a Flute Flowchart" - here is an excerpt:
How to buy a flute - the flow chart

Buying a new flute flow chart to see how most folk buy a flute and what goes right and wrong.

The sensible way to shop for a flute:

1. Get your current flute repaired to top notch quality. Why?
a) Improves re-sale value of your old flute and allows you assess its actual abilities.
b) allows you to compare your old flute in prime condition to prime condition new flute(s) and
c) if you are selling your old flute to pay for your new one, you will likely get the repair money back in the price you sell the old flute for, and even sell it much faster with less fuss.

2. Now With your old flute in top condition you can afford to play-test new flutes at your leisure without rushing the process.

a) your old flute may have had leaks that made you think it was far worse a flute than it actually is and
b) if new flutes are in poor state of repair from sitting in the store too long or getting bumped in transit, you'll be able to sense it because your current flute plays very well by comparison.

3. Once you've found a brand of flute you think is better than your old flute, ask the salesperson to bring in multiple identical models so you can choose the best one.

a) no two flutes are alike even when "identical". One or more may have a slightly better or different headjoint or key work speed and lightness than the next.
b) not all flutes that are sitting in the shop have been recently repaired to fix minor leaks or other problems that have occured over time in the shop. You want them all to be in perfect repair for play-testing.
c) sometimes large shipments of identical flutes have been quickly sold off, best ones sold quickest, as the batch of "identical" flutes  moves from city center to city center, leaving only one lemon that no one wants, and that is possibly the one that is in the shop when you arrive.

4. Have the new flute(s) tested by a professional flutist or private flute teacher while you listen from a distance of several yards or in a performance hall. Why?
a) flutes that sound LOUD or SOFT up close may sound the opposite at a distance
b) you can witness the acutal ability of flutes that have a professional range of sound quality and agility if played by a pro. (qualities you may not be able to yet get out of a given flute)
c) the pro. will sense far more quickly the limitations of a flute (too thin, too muffled, too slow mechanism, leaks in pads etc.) and within minutes can pick the best flute of a batch.

5. Keep your old flute as a backup for when your new flute goes into repair after first 3-6 months, and thereafer once a year. Why?
a) You don't want to be left flute-less if a repair problem crops up just before a concert
b) You can eventually sell the old flute and your new flute may become your backup flute when you buy a new one (every 10-20 years.) and c) if your old flute is in perfect repair, you can tell when your new flute starts to leak or have other problems by playing your old flute to compare.

________________________________article continues here.

How to shop for a flute while repairing your old one:

Now to reiterate and fill in with details pertaining to you:

1. Your old flute is perhaps perfectly fine and just needs a few tweaks or pad leaks repaired; in fact, perhaps there's no rush to buy a new flute....it's just that you're kind of lost in what you're doing musically, not quite sure whether you need new equipment, or a fresh start, and you think maybe your one hard-to-press key is leaking, and your flute is kind of squeaking and shrieking....... and maybe this old flute has never been to repair, and the low notes no longer come out....it happens. It's like an old bicycle that rusted away in a wintery garage.....how do you know what's wrong here?
What should you really do?

 Go straight to the the best flute repair shop with that flute.

Some flutes need tweaking at the repair shop twice a year!
Most need an annual maintenance schedule (very affordable).

If the pads on our old flute are starting to fail (harden/warp/leak), you could just need a $60 repair visit  to fix one truly bad pad. Or if you haven't taken your flute in for over two years, there could be multiple mechanical and pad problems, and this could be a $230 repair visit.. The fact is that flutes need annual maintenance. If that's been missed, yes, the flute could be "not worth repairing" (cue vincent-price music: duhn duhn dunn DUNN!)

Pads actually leak on $20,000 flutes too. You are not alone.
 Flutes need to be oiled once a year whether they are cheap or expensive.

Leaks in the pads are common due to humidity/drying, finger-pressure.
** In your letter above you say your friend's flute is also behaving as if it has pad leaks.** Perhaps they need their flutes playtested as well.

Shimming and sealing tweaks are the most common repair in the real world of flute playing. It's part of maintenance that most regular people forget about.

Take your flute in to the best recommended repair shop, and while it's away, rent a good quality, leak-free flute for a couple of weeks if yours is delayed, or in the waiting list for repairs at the best flute repair person's shop for ten days.....

And here's what will be happening, while your old flute is at the shop.

Get a brand new rental/replacement and compare:

You will compare a brand new rental flute for two weeks with your own flute when it comes back from the shop. You will feel the difference.
This whole exercise doesn't cost that much, and if you do sell your Artley one day, or ever play it again, you'll notice that having it leak-free is key to it working and selling it in the future.

On the other hand, if the repair technician says "UNrepairable" or "Not worth the cost of the repairs", or "Are you playing this flute again, or donating it to a junior band?" then you'll know that from an expert right off the bat.

So: repairs at the repair shop first.

 Your flute needs them.

(and if the repairs are ridiculously costly and time-consuming, or if the technician suggests that the flute is too mechanically damaged to be worth repairing, you will know right away. They can call you before they begin working on it.)

It's also good to have found the best quality repair person for your flute, because when your new flute comes home, it will also need to have repairs and adjustments after the first 3-6 months, and every 12 months thereafter.

So meet your new repair person.
You will come to know them. :>)

2. During the week(s) your old flute is being repaired.

 During the time your old flute is in the shop, you have rented or taken out on trial from a quality music instrument shop, and have now been playing on a Yamaha 461 (with plugs in the open-holes as needed, and offset G for those who want that) for two weeks or so, and it's brand new, and you have experienced the "new flute feel".

This is a great way of playing a leak-free flute: lightest possible fingers, no need to press hard to get notes to come out, all playing is fluid.

If you're renting a Yamaha, hopefully a brand new one, ( and your local shop may instead have Pearl, or Armstrong, or Gemeinhardt or whatever brands they normally sell) you need to get the newest, freshest model they have in stock.
You tell them you're flute shopping for the future, and you put a credit card down.
(I recommend Yamaha flutes because they tend to be identical in their sturdiness. They aren't "soft" and bendable, so they take and hold their pad repairs very well, and they tend to play well in a standard way that will get you where you're going without too much trouble.)

You can rent any new flute they'll rent you. If they have a brand new Azumi, or a Miyazawa, Muramatsu or Altus, with the right money down, you can take it "on trial" to see if you would buy it after ten days.
Try Japanese flutes, try out the best in the shop.
Sometimes they will let you have a flute on trial because they see you're a serious, buying customer.
Sometimes this level of service will extend to allowing you to take two flutes on trial one after another.
Meet your instrument salespeople; get their help in trialing instruments.

But what is most important, and what you are actually going to do with that brand new flute when you first play it, is to go slowly, and carefully and

 do not compress the pads barely at all when you play it.

You want to retrain your hands to have the "butterfly touch".

Don't press down on the keys at all.

Let your hands go from clenching at 10 on the tension scale, to being 9, 8, 7, 6, 5, more and more relaxed until they are at a 2 on the tension scale.

Learn to play again with perfectly relaxed and poised hands so that you are exerting NO downward pressure on the perfectly seated pads.

This is the key to testing out any new flute.

It's going to have the perfect padding of (hopefully) the universe on it, and you need to change YOURSELF to play it without the pressing downward that you do on your old Artley.

Yes, the headjoint will be different.
I'll cover headjoints below.

But check out what you learn about good padding!


Pads must seal with no uneven pressure from the fingers.

This is the whole learning experience of the intermediate player right here.
Padding awareness. Finger effortlessness.

3. How long does it actually take to really get used to a new flute?

It can take from 2 to 6 months (or even more) to truly adapt to a new flute for an advanced or intermediate player. Usually it is the headjoint they are adapting to. There are hundreds of variations in headjoints.

I have two semi identical flutes (both Altus) which can be fitted with the same headjoint.
That is the way I can send one to the repair shop as needed.
The headjoint is the same, so I barely have to adapt when one of the two goes to the shop.
That's how I solve the problem as a professional who must play gigs, despite pad wear and tear from playing for so many hours a day.

But throughout my performance life, I've changed headjoints and flutes several times so I know that yes, it can take up to six months to get used to a flute's new headjoint.

No two headjoints are alike.

Some are deeper, shallower, broader, more triangular, require broader oval in the lips, require deeper blowing angle...

No two are alike. Seriously.

If you are trying to get an identical sound quality as your old Artley headjoint, it could take two months to adjust. This is why when testing, it's better to have a teacher/professional also play-test the headjoints.

As you're adjusting to a new headjoint:
Sometimes it's because the lip-plate feels different, and you need to frown the chin-skin into place better to feel the lip plate curve.

Sometimes it's because the angles you can blow at are much smaller, and as you get a better and better sound you're finding the "sweet spot" to aim at for each new headjoint.

Sometimes it's because you're actually blowing off-center and don't know that until you look in a mirror.

But it takes time, and it's much easier with a teacher coaching you who can demonstrate the sound quality.

So, why not wait until you have a teacher so you can actually try out headjoints and new flutes with someone who can test-play them for you?

4. Test playing by TWO people; one of whom adapts quickly.

Here's the key point; if you have a flute teacher, you can record their test-playing of any and all flutes you bring them, by bringing a recording machine to your flute lesson, and having any two flutes played side by side by a professional.

This is the easiest possible way to hear what a new flute is capable of.

To me this is the key to the whole thing.

The teacher will:

- use a light touch on the new flute's pads and notice any inherent pad leaks
- will use a light touch on your Artley's pads and notice leaks and tell you to take it to the best repair person in town, and give you dude's phone number. :>)

The teacher will:

- test the headjoint(s) to make all different tone colours. This sound-testing can be recorded on any recording device and listened to at home, afterwards as well as live!

- play-test the Artley headjoint to see if the cork is leaking or there are other repair needs

- play-test the Artley vs. the new headjoints and describe, verbally and demonstrate by playing what the adjustments would be to get the same sound on the Artley and the new headjoint (ie: "I have to widen my aperture, make a tall oval, and stick my upper lip out just a bit, to get a huge forte on the lower G.......etc.")

The teacher will:

- playtest back to back any and all flutes running scales and skips and leaps and hard repertoire.


You can record this play-test and hear which flute is better. You can keep this recording and listen to it a year later to hear what the flutes sounded like when playtested back at the start of the shopping process. You don't need to rely on memory if you have recorded the whole testing sequence (with teacher's permission.)

5. Why does the expert play-test beat the amateur play-test?

Here's the real reason why this is such a good question; it brings out a human issue:

Our ears are far in advance of our playing-skills when we first are testing instruments.

When you aren't yet skilled enough to make your embouchure and hands go through multiple positions on the flute, you can't fully test an instrument.

But your ears, your musical ears, are always miles ahead of your skill set.

So by recording an expert flute teacher playing any flutes for you, when you are flute shopping, your ears can pick out the flute that actually WILL be the best flute to your taste.

Your teacher will tell you of any mechanical flaws, but your ears will be able to pick out the flute it wants to hear.

Hope this helps,

Speedtyping at a zillion miles per hour with no spell check, and obviously hyper aware of repair needs for padding problems on old flutes (and new ones!)



More useful links:

Flute Care tips (with printable pdf):

How to test a flute that's on "trial":

Test your current flute for repair needs:

Advice on buying a flute:

Saturday, February 28, 2015

Pencil grips as anti-skid flute wideners

Pencil Grips


Hi Jen,
I have been experimenting with accessories for my flute because of recent hand issues and I came across your article about making your own key extensions.

In the pictures, there is a cushion-like material in the side area where the middle of the left index finger rests. I'm wondering what material you use for that and if you glue it on with the same glue for the cork parts. Thanks for your help! A.

Hi there A, thanks for the question. I've long been meaning to update the information on using pencil grips to widen and stabilize the flute. They are pictured above in their penciled state. (in previous videos I used white adhesive sponge made to cushion shoes see NOTE below).

 The pencil grips allow the flutist to widen the flute's diameter, and provides a non-skid traction pad for the left hand. Very relaxing for the player to be able to have the flute stay put and not slide around. I actually use two flattened pencil grips, stacked (with double sided scotch tape between and under them). Here are photos of stacked pencil grips on my own flute. Yes, I'm using up the ugly coloured ones first, ha ha. You can see my wooden extensions, that have stayed on now for over ten years.

Jen's flute with wood extensions and pencil grips.

Earlier, in the videos I made of "teacher's tools" (video embedded below) I show the package of pencil grips and how they are sliced open to be applied to the left hand area of the flute.
You buy a pack of pencil grips at an office supply store, and slit each cylinder open with scissors to make a rectangle. You stick them on with two sided scotch tape.

Here's the tape I use at left. I actually purchased it to mount photographs. So it's acid-free, or so they tell me.

I used to use Blue-tack but it is messy stuff, oops a doodle. Big mistake. Eek. Don't use.

To wit: Here's an older teaching video of mine,
minute 3:25 shows the pencil grips.

Again, please do use the double-sided scotch tape now, not the dreaded blue-tack as I was such a fool to use, ha ha.

Hope this helps.

Note: In the How to make your own wood and cork extensions pdf I was, at that time using "Dr. Scholl's" foot cushion squares. It is sold as a rectangular two pack of white sponge for foot protection at the drug store. You cut it to LH index-cushioned size with scissors and peel off the backing. But I found it disintegrated too quickly; bits of sponge were threatening to litter my flute case, (repair tech. did not like the look of this at all, as it would next show up inside the mechanism! eek.)  and it's no longer a product anyone can find online. Another "good riddance" wrong product...but at the time it was useful. Moleskin is too slippery.

The pencil grips are much better. Hope they're not too hard to locate. They too seem to be disappearing. Found the picture at Amazon under pencil grips.
A writes:
Thank you so much for your quick reply! I enjoy your website and all of your resources.
Jen writes:
Good question! I had long wanted to let folks know what products work well.

Thursday, February 19, 2015

Your Fluteplaying Brain

Dear Flute-lovers,
Just in case you needed proof:

How playing an instrument benefits your brain (video)

Also of interest:

Allison's Brain - listen online

In 2011, Allison Woyiwada -- a retired music teacher -- was told that she had a giant brain aneurysm. After surgery, she experienced severe cognitive and physical defects. But then she began a programme of music therapy: this is the remarkable story of her brain's recovery.

Go to: http://www.cbc.ca/radio/ideas

Click on the title as seen below (scroll down when you arrive at above link)
It looks like this:

This CBC radio recording of "Ideas - Allison' Brain" will be good for approx. 2 weeks.

Best, Jen

Saturday, February 14, 2015

Interesting conversations with pro-flutists

Dear Flute-lovers,

Something to watch:
The New York Flute Club round table conversation in March, 2014 with members of the Metropolitan Opera flute section,  Principal flutists Denis Bouriakov and Stefán Ragnar Höskuldsson, second flutist Maron Khoury, and piccoloist Stephanie Mortimore speak with retired principal flutist Michael Parloff

Part I   Biographies and backgrounds (video) 

Part II (video)

Points of interest:

1. I have received emails in the past from amateur flutists who think that driving 2 hours to go to a bi-monthly lesson is too far to go.
Two of the Met flutists had their parents driving up to 1000 kilometers to take flute lessons with the best teacher in the region.
Maps are shown (Iceland and Russia). Check it out at start of first video.

2. In the second video the discussion turns to tricky flutey opera parts.
Note how one flutist said during Carmen Entracte/Intermezzo (pdf)  that they had to defy the conductor to take a tempo that actually worked. (The intermezzo has breathing problems when played too slowly.)

I've been there......
And it makes me feel better that professional Met flutists have felt the same incomprehension of flute breathing situations even in some of their conductors.

Bonus link: Video on how to play Intermezzo at the pro-level.

3. Note how many of the flutists had parents who did not play music at all.

4. Check out the super long piccolo notes (34 seconds!) and the fingering written on the part!
Interesting that the piccoloist talks about C02 conversion if you breathe in too much air before holding the long A.

Truly for the true flute-nerd.
Thanks to the friend (flute-professor and fellow flute-nerd) who sent these links.

If you're interested in Opera flute parts see John Wion's publications. Well worth the study!

Best, Jen

Friday, February 06, 2015

Is one month of lessons enough to assess?

I'm an adult beginner flutist, switching from years of another woodwind instrument. I have a highly recommended young teacher, and have had a month of lessons, but it seems that we're not covering the types of things I read about on your blog/website. I actually learned more in 24 hrs. from reading your site than I learned in four lessons!
Do you think I need a different teacher (one with more adult-beginner-due-to-woodwind-switching experience)?
My current teacher had me playing some high notes, which I read aren't really appropriate for beginners. What do you think?

Jen's Answer:

Hi there, thanks for the questions. They are indeed very good ones.
It's difficult to know.....perhaps you need a teacher with more experience with 'adult beginners who already play another instrument'. Or maybe you should wait another month or more before assessing fully your current teacher.
 I have some thoughts to share. They might help you assess. :>)

The first few months of any new teacher with a new adult flute beginner can be quite random-feeling.

An experienced teacher often needs about ten lessons to really learn about their student. These are things like:

- how they learn
- how much they practice
- how they practice
- what they already understand vs. new information to be assimilated over time
- what their physical strengths and weaknesses are on the instrument
- what their intellectual and emotional state (individual fingerprints, all of us) is like to work with
- how to establish trust and rapport (important for smooth communication)

So, when I'm teaching a new adult student (and I often teach adult beginners on flute who already play another instrument very well) I often wait and see for the first ten lessons or so, to find out how to effectively direct the teaching, based on each individual student.

So it may be that you're experiencing a feeling of "hodge podge" lessons when in fact it's only natural that it takes time to develop a workable flute program for you as an individual.

It's also possible that an inexperienced teacher is acting "hodge podge" because they haven't taught many other beginners similar to yourself. They may be finding their way.
This last point is what needs to be decided, and will take more time.


An adult beginner who already plays another instrument well may have misconceptions that they are transferring over from their other instrument that do not work well on flute.


- pianist force their fingers down too hard
- clarinetists unconsciously use mouth shapes that don't work well on flute
- oboists use too much blowing pressure and feel downright strange playing on a flute with "no resistance".
- trumpeters may tongue or shape their mouths in an unusual way (tongue supported embouchure, or "Tut" articulations that don't work on flute) etc.

So in the first ten lessons or so, these habits must be redirected and changed.
That can take time as the student is unaware of what they're transferring from their other instrument practices.

Thirdly: No two flute beginners are alike.

Some beginners get high notes on their first tries on the flute. Others get low notes.
Both find the opposite "difficult" at first.

During the first year or two the adult flute beginner may need to make many failed efforts to play the register that they don't naturally play easily.

It is more common to be able to easily play low notes at first, and to find the high notes blasty, fuzzy, screechy, and difficult to sustain.

And of course, it's a bad idea to force a student to play high note exercises before they are ready with their posture, breathing, fingering and everything else that beginners need to solidify before high register starts to develop more easily.

But, if the student needs a few free-time experiments with high notes to show them how to move their air faster, or how to blow more sustainedly, or how to blow more freely, playing random high notes from high to time eases them into the high register.

Yes, it's difficult and blasty at first, but a few forays into the high are a good idea.

An opposite problem happens when a caring teacher tries too hard to keep a student in the safer low register for too long. In this case a beginner can become too comfortable in the low register and put off learning to blow with more air-speed or to blow more sustainedly or more freely.
They might then play everything with a low register speed and embouchure, and find the high register "too scary" because it's so different from the low.
In some cases, kept in the low register too long, they become paralysed by perfectionism and will not "try" the high register without "over trying" or without self-criticism for the first few squawks and blasts.

So it's actually more dangerous to insist the student stay away from high notes for too long.

Yes, they need to solidify the low register, and make the tone and pitch and placement stronger over their first year, but this is not to say that they are not also strengthened by SOME high register playing.
It's best to occasionally investigate the high a few times a week, just to note how it's gradually becoming easier, and to adapt early on to the changes (fast air, more forward embouchure) as a beginner, rather than to delay it too long.


It's possible that your new teacher is indeed covering all this knowledgably, and you are just finding out more details by reading my blog, details that you may use in the coming months.

So, maybe you just need to explore all this with your current teacher over time.

Also, in order to make any judgement, I'd have to actually hear the lesson or see the lesson.

I can't tell that the teacher is not adapting to your needs, or that the teacher isn't aware of the true path of a beginner through his or her own inexperience.

A good idea would be to record one lesson on video or audio-recording and to listen back to it at home to see and hear the bigger picture.

Some examples of surprises I've found in the past with new students:

I've had adult first year flute students who:

- for some reason were sitting down on a chair to practice flute (because they'd previously played seated for their other instrument), and did not wish to experiment with standing to play flute which, (as those familiar with the Psoas muscle and how it attaches to the lungs will know) gives faster lung support.
Result: This student found high register extra difficult because of delaying standing to play flute.

- came to every lesson full of questions but never actually wanted to play their flute in the lesson; the entire time was filled with intellectual questions, (and perhaps a fear of failure of actually playing in front of me).

- spent too much time reading books on the flute/articles on the net, and over-analysed every aspect. This led to over-detailed self-analysis which led to embouchure and hand tension as they continued to ignore advice on relaxing while holding and playing the instrument, and instead sought to do EVERYTHING "correctly". Result: too tense to play easily and well.

- wanted to play hard music immediately with no slow and sensible steps toward it; just kept switching to another difficult piece every week, and abandoning what was taught the week before.

etc. etc.

So, as you can easily see, it's a slow and careful process to deal with each new student, as they all are complete individuals with different skills, different sense-of-self-in-space-and-time, and different preconceptions, misapprehensions etc.

So, yes, the teacher may not be experienced, but they may also be dealing with a set of variables that has not yet smoothed the way forward...
Let patient observation be your guide. :>)
And by all means record your lessons.

Hope this helps.

Comments very welcome, just use the comment button below. Thanks.


Monday, February 02, 2015

Finger Gym - by Paul Edmund-Davies

Dear Flutelovers,
For intermediate and advanced flutists, Paul Edmund-Davies has put free "Finger Gym" exercises with explanations on how to play them, all on his blog.

Here is a pdf of the Finger Gym for printing.

If you're a novice or intermediate player or are just re-commencing, after a break, see these super fun practice pages with trill chart and all the best hints. Go to: "How to get faster fingers."

If you use both these printable pdf resources, and play absolutely
 S-L-O-W-L-Y and loosely, just sensitive and slow enough to truly focus on finger facility for just a few minutes a day, you'll be one fleet-fingered duderoo. :>) Don't do too much in a day. 15 minutes is fine for finger focus. Stay loose. :>)
Best, Jen
Finger Gym Exercises by Paul Edmund-Davies at his blog (more dots per inch in jpg).

No. 1      No. 2       No.3        No.4
Good terminology question from comments below:
What is "long" B-flat?


Thumb, LH1, RH1, D#lever or:

1      | 1      4

Wednesday, January 28, 2015

Bach Chaconne free pdf bwv 1004 flute solo

Dear Flutelovers,

A wonderful free arrangement of the J.S. Bach Chaconne for solo violin, transcribed for flute:

Bach Chaconne for Flute in pdf

Level: Advanced.

The above is Tom Sargeaunt's transcription, and it seriously rocks!
Enjoy! (Huge thanks to Tom!!)

See Denis Bouriakov play it. Video:  Part 1. Part 2.

Bach Chaconne BWV 1004 performed/arranged by Denis Bouriakov.

Part 1:

Part 2:

If you're wondering where to add slurs, listen to the Bouriakov video, and play with it.
(use the pause button frequently.)
Hours of fun!
a lifetime of fun!

Also of interest: Emma at 14

A captivating interview with 14 year old Emma Resmini.
See pg. 1 and pg. 4 at New York Flute Club Newsletter Jan 15/15: here.