The Doubler's Approach to Flute Playing by Neville Thomas
When a saxophone and clarinet player decides to extend his doubling, the flute should be the instrument he selects.
Not so long ago doublers were considered to be "second-class citizens," but today many are very fine flutists and good players on three and four additional instruments, even including the oboe and bassoon. When a saxophone and clarinet player decides to extend his doubling, the flute should be the instrument he selects.
The majority of doublers, I am sure, commence their next instrument too soon — before their embouchure on the first instrument has had time to form correctly. It is to be assumed, of course, that the player is well-established technically, embouchures well under control and muscles set before starting the flute. Otherwise the original embouchure could well be damaged as the doubler battles with the flute and its blowing peculiarities as compared to other reeds.
Minus the register key for clarinet and octave key on saxophone, the doubler has a surprise in store as he tries for octaves by movement of lip and air alone. This in addition to playing without the security of the mouthpiece inside the mouth. The average player seems to be content with self-teaching for a while. It is imperative to start with a good teacher — immediately. Otherwise a completely incorrect conception could be underway. Be agreed that the first time you play flute you are under the careful scrutiny of your teacher. It is sheer joy for a teacher to get a student such as this. This eliminates the need for undoing faulty playing. More usual is someone coming along to be "finished off" and discover he must bear the annoyance and humiliation of starting all over again the correct way!
The concert flute in C is the best choice on which to start. Leave the alto, bass, piccolo and Eb soprano as internal doubles for later. The flute has to be a closed G#, of course, to match the saxophone, clarinet and oboe. The fingerings on flute are somewhat similar to both octaves of saxophone as it overblows all the partials of the saxophone and oboe.
As soon as possible become familiar with those high ledger lines and be sure to do the correct fingerings. Leave harmonics until later. The delicateness of the flute is a surprise to saxophonists and the big temptation is to overblow. Be sure the lower lip is only covering one third of the embouchure hole. Blow down for the first octave. Point the center of lips forward for the second octave. Blow over the embouchure hole but do not overblow for the third octave. Be content, for now, to play more softly and within yourself. Balance up the tone to each register before trying for strength of tone. Build up the intensity and quality of the lower register before trying strength of tone. Build up the intensity and quality of the lower register by long sustained notes. The side muscles are just as important as ever. Again, try to resist overblowing. There is no strain on the lungs and no force is necessary. Underdo rather than overdo.
At this stage, tone development and good intonation are the most important tasks. The necessary alterations of embouchure and air column pressure are at first confusing. Generally, these changes are exactly opposite to what the doubler expects. By directing the airstream downward, the flute plays louder and also lower in pitch. Conversely by directing the airstream outwards, the flute will play more softly and higher in pitch. And it is right here that the problem begins for the clarinet and saxophone player. Different intonation peculiarities immediately present themselves and the problem to be faced is that the saxophone and clarinet player is used to playing with the same lip pressure with only slight necessary alterations for extremes. The flute's notes are altered by change of airstream and blowing intensity. Throat pressures are also different than those of the saxophone. Flutes flatten at diminuendo and sharpen at crescendo.
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In regard to intonation level, it can be observed that the flute, clarinet and saxophone vary in opposite directions. This is so in high and low registers. And this is just the beginning! Therefore time must be devoted now to long sustained tones which somehow (already being a player) the doubler seems reluctant to give. Middle C# (second octave) on all flutes tends to play more sharp than on saxophone so don't be alarmed.
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Use the third finger right hand fingering for F#, not as with the saxophone. And try not to think of any relationship of fingerings between the instruments as you play. Concentrate only on the one you are playing at the moment.
Tonguing should not present any problems at this stage. The same system may be used as on the first instrument. The absence of the mouthpiece and reed inside the mouth actually makes staccato easier for flute. Later, of course, double, triple and flutter tonguing must be mastered. The same may be said about vibrato. The development of vibrato should not be attempted without supervision and not until tone control has developed.
Diaphragmatic breathing is just as essential for flute as for other instruments. In fact, more so!
The teeth are held closer together and the lips should be more moist. Remember, our ears are wonderful teachers and listening to records is the best advice I can give at this stage so that the correct tone concept can be ascertained — and to know for the first time what sonority means. So, keep in your ears the sound you would like to make.
When you feel you are ready to use the flute on the job, ask the arranger to allow you plenty of time for the change. This will give you an opportunity to think what you have to do. Practice changing instruments quickly and play them alternately five minutes on each to get used to embouchure, throat and fingering changes. When making quick changes be careful to place the flute gently back on its peg. Otherwise, the tuning can be altered as a slight jolt downward can make the head move down into the body — it could be most embarrassing coming in with a solo a quarter tone sharp!
Doublers should never try to economize when buying their instruments. The better quality of all instruments the less adjusting and favoring will be necessary in changing quickly from one to another.
In this jet age of flute playing, a "fever" seems to have set in and everyone seems to want to try to break all records for quick learning. There always seems panic and readiness to cut corners as though it is easier than other instruments. The answer is plain hard work on every detail, and to study it legitimately and correctly as though preparing for a symphony orchestra, before commencing ad lib playing. Jazz players seem afraid to look too "legit" when playing flute. The left arm must be well across the body with the head erect, otherwise the embouchure will be all "left-sided" and cause many embouchure problems.
The ultimate aim of the doubler should be that no one can detect which is his principal instrument.
Anyway, one last happy thought — goodbye reed problems forever. Hurrah for the flute!
