Free Sequences from Paul Edmund-Davies
Free Sequences from Paul Edmund-Davies
Hello flute lovers,
Once again Paul Edmund-Davies is offering free interesting flute practice materials.
View introductory video here:
Paul Edmund-Davies - Free Sequences
Starts May 15th 2017 and runs for nine weeks, at: https://www.simplyflute.com/
Sequence Number 1
https://www.simplyflute.com/sequences/project/sequence-1/
Sequence Number 2
https://www.simplyflute.com/sequences/project/sequence-2/
Sequence Number 1
https://www.simplyflute.com/sequences/project/sequence-1/
Sequence Number 2
https://www.simplyflute.com/sequences/project/sequence-2/
Sequence Number 3
https://www.simplyflute.com/sequences/project/sequence-3/
Sequence Number 4
https://www.simplyflute.com/sequences/project/sequence-4/
Sequence Number 5
https://www.simplyflute.com/sequences/project/sequence-5/
Sequence Number 6
https://www.simplyflute.com/sequences/project/sequence-6/
Sequence Number 7
https://www.simplyflute.com/sequences/project/sequence-7/
Sequence Number 8
https://www.simplyflute.com/sequences/project/sequence-8/
Sequence Number 9
https://www.simplyflute.com/sequences/project/sequence-9/
For Sequence no. 10 and beyond see new blogpost:
http://jennifercluff.blogspot.ca/2017/11/more-free-sequences-b-flat-fingerings.html
_________________________________
Explanation from Paul's newsletter:
From Monday 15th May 2017 and for every following Monday for 8 weeks (making a total of 9), Simply Flute will be posting a free video and sheet music of a sequence. Each one will cover an aspect of flute playing that is useful to focus on.
In our daily practice routines, we have scales and arpeggios, studies and pieces to work on and they all appear to contain very different disciplines. A sequence, not only acts as a form of ‘bridge’ between each of these groups, but also gives us a chance to work on different aspects of technique and in a musical manner. We can focus on our sound, the way in which we use our fingers, our breathing, the shape of a phrase etc. Through playing these sequences in all keys, both flat and sharp, we become increasingly familiar with those keys we love to hate!
As I am getting longer in the tooth, contrary to my youthful expectations, I now appear to have significantly less of my day to devote to practice. Hence, on days when I find myself snowed under with paperwork, a short session on a sequence or two is a highly constructive way of toning everything up and in a fairly economical way.
On Monday, you will be able to download Sequence 1, which is really a very gentle scale ‘noodle’.
Of course, on paper, it looks comparatively simple. After all, we are encouraged to embrace scales from an early age. However, underneath this innocent looking surface, danger is lurking!
Whilst we should focus on generating a beautiful tone in Sequence 1, we also need to realise that playing in a truly ‘legato’ manner is another major side to this sequence (and is an essential part of communication in so much of the repertoire that we are interpreting). Exactly how we operate our fingers is also to be considered. If you use your fingers in an abrupt on/off manner, the legato that you are searching for will fade away and turn to lumps and bumps!
In Sequence 1, you should try to ‘feel’ your way around the flute (once you have the exercise from memory, it could be beneficial to take a look at how your fingers are operating by looking in a mirror). The more fluid your fingers, the greater the likelihood of a true legato. After all, the flute is firstly a musical instrument and secondly a piece of machinery!
I love spending time on sequences. I hope that you will too!
Best wishes, Paul.
_______________________
In our daily practice routines, we have scales and arpeggios, studies and pieces to work on and they all appear to contain very different disciplines. A sequence, not only acts as a form of ‘bridge’ between each of these groups, but also gives us a chance to work on different aspects of technique and in a musical manner. We can focus on our sound, the way in which we use our fingers, our breathing, the shape of a phrase etc. Through playing these sequences in all keys, both flat and sharp, we become increasingly familiar with those keys we love to hate!
As I am getting longer in the tooth, contrary to my youthful expectations, I now appear to have significantly less of my day to devote to practice. Hence, on days when I find myself snowed under with paperwork, a short session on a sequence or two is a highly constructive way of toning everything up and in a fairly economical way.
On Monday, you will be able to download Sequence 1, which is really a very gentle scale ‘noodle’.
Of course, on paper, it looks comparatively simple. After all, we are encouraged to embrace scales from an early age. However, underneath this innocent looking surface, danger is lurking!
Whilst we should focus on generating a beautiful tone in Sequence 1, we also need to realise that playing in a truly ‘legato’ manner is another major side to this sequence (and is an essential part of communication in so much of the repertoire that we are interpreting). Exactly how we operate our fingers is also to be considered. If you use your fingers in an abrupt on/off manner, the legato that you are searching for will fade away and turn to lumps and bumps!
In Sequence 1, you should try to ‘feel’ your way around the flute (once you have the exercise from memory, it could be beneficial to take a look at how your fingers are operating by looking in a mirror). The more fluid your fingers, the greater the likelihood of a true legato. After all, the flute is firstly a musical instrument and secondly a piece of machinery!
I love spending time on sequences. I hope that you will too!
Best wishes, Paul.
_______________________
posted by jen at 4:46 PM
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Comments (2)
Hi Jen,
I have really found your blog helpful. Thanks so much!
I am considering buying a Haynes Amadeus flute. In 2009, you told a reader that you had not yet tried the Amadeus, and therefore couldn't comment. I also completely understand and sympathize with your point of view that there is so much variation among flutes of a particular type that one cannot reliably generalize about their quality andmust test them individually.
Nevertheless, I would like to know if you have tried the Amadeus flute since 2009 and, if so, what your experience has been. Did you find it to play well? I am trying to decide between having a very old (1959) Artley Wilkins model overhauled completely and buying a new Amadeus with a gold riser in the headpiece. Is it really true that a partially machine-made Amadeus that is not all siver outperforms a hand-made, all silver flute from 1959, given that the technology has improved a lot in the meantime?
Thanks so much in advance for your input!
Artley owner
Hi Artley owner,
I think that you asked this before on another page of this blog (and I answered the same: I haven't tried Amadeus and no one I know has used one over time)so I guess I'm out of the running for answering this. I have tried Azumi 3Z over seven years with students using it to advance rapidly and I think it's very well made and very professional in feel and sound. Are they the same price?
So, sorry, no idea about Amadeus. What do the teachers say who live in your area about longevity on the Amadeus?
Jen