Posture (without flute)

1. 1.Feet flat on floor
   

2. 2.Relaxed spine, not arched
   

3. 3.Roll hips to find balance
   

4. 4.Practice on wall to feel space
   

5. 5.I don’t recommend edge of chair
   

6. 6.Relaxed shoulders
   

Breathing

1. 1.The flute requires a lot of air and beginners may get light headed. Take a little break if you feel this way.
   

2. 2.Where are you breathing right now? Where are you supposed to breathe from as a wind player?
   

3. 3.Breathing low is natural in some cases: yawning, sighing, exercising, surprised. Remind students to breath low constantly.
   

4. 4.I tell students to “breathe low” instead of “breathe from the diaphragm” since the diaphragm is an involuntary muscle.
   

5. 5.Support is not an analogy. It is a physical activity and should be described as such. Engage the muscles that naturally tighten when you take a deep breath. This muscle engagement is support. It makes the breath last much longer.
   

6. 6.Once students know exactly what support is, analogies are helpful for reminding them. What are some analogies?
   

7. 7.Balanced hips have an effect on lung capacity.
   

8. 8.Yawning is okay! It means you’re using a lot of air.
   

Breathing Exercises

For a proper breath

1. 1.Surprise breath: jaw drops, tongue at bottom of mouth, abdomen quickly moves out
   

2. 2.Dino breath: place side of hand vertically in front of mouth. Take a surprise breath. A low rumbling sound occurs when you do this correctly.
   

For increasing breath capacity

1. 1.“In for _______, Out for ________”
   

2. 2.Paper to the Wall: Students can compete to see how long they can keep a piece of paper up
   

3. 3.Cardiovascular activities: swimming, running, etc.
   

For air speed/embouchure

1. 1.Blow on hand: imagine different sized straws (McDonald’s, regular, coffee straw) as the aperture hole between the lips
   

2. 2.Blow on hand/arm: While holding head, still aim air to fingertips, then to elbow. Notice how jaw and bottom lip control air direction. Since flute playing doesn’t usually require so much movement, lower lip is usually sufficient (jaw is too much)
   

3. 3.“Not” blowing a candle out
   

Embouchure

1. 1.Strive for a relaxed embouchure. No tightness in the corners. No drawstring.
   

2. 2.A relaxed face and mouth. Like watching TV.
   

3. 3.The mirror is your best friend when working on embouchure.
   

Exercise 1

1. 1.Place finger below bottom lip and relax.
   

2. 2.Blow air across finger mocking soda straws.
   

3. 3.Pout. Any tension should be created by this downward motion.
   

4. 4.Slight inflation of cheeks is fine.
   

5. 5.POOH, PURE, WHEE-TOO
   

Exercise 2

1. 1.ALWAYS begin students with head joint exercises.
   

2. 2.Cover the lip plate and blow over the end of the head joint like playing a bottle.
   

3. 3.Use little tension. Very relaxed.
   

4. 4.Remember to use the surprise breath.
   

Exercise 3

1. 1.Sandwich baggie analogy
   

2. 2.The lips are the Ziploc seal (not a drawstring).
   

3. 3.As the bag/mouth fills with air, the lips seal from the corners to form the embouchure.
   

4. 4.If the embouchure were bigger, the air would quickly release. If the embouchure were smaller, the air would meet resistance and release more slowly.
   

Exercise 4

1. 1.Spitting seeds/rice (Suzuki)
   

2. 2.This exercise is great for feeling what size aperture hole is necessary.
   

3. 3.Avoid getting used to tonguing through the lips.
   

Exercise 5

1. 1.Cover the end of the head joint with the right hand and play first tones.
   

2. 2.The lip plate should fit in the flat part of the chin with the bottom lip resting over it. The embouchure hole should meet the line between your lip and chin.
   

3. 3.Keep head up and bring the flute down to you, not your face to the flute!
   

4. 4.Aim air across and not down (a correct angle of air will be slightly down, but most students overcompensate and try to play INTO the flute instead of across.)
   

Exercise 6

1. 1.Variation on exercise 5
   

2. 2.Overblow the note that sounds when the end is covered.
   

3. 3.Remove right hand and make a sound. This is a bit more difficult.
   

4. 4.Insert finger into end. Creates a slide whistle effect.
   

5. 5.Bring flute to face, play a note, pull away. Repeat. This finds your “sweet spot.”
   

Exercise 7

1. 1.Work with a Pneumo Pro.
   

2. 2.Plastic “head joint” with little propellers. Helps students see how their air stream is working.
   

Posture (with flute)

1. 1.Strive for as little tension as possible.
   

2. 2.Turn chair 45 degrees to the right. Gives arms, shoulders, and chest more space.
   

3. 3.Hold instrument out in front like a clarinet.
   

4. 4.Slowly bring the flute back while looking straight ahead.
   

5. 5.Turn head to the left and bring the flute the rest of the way to you. Remember: Flute to face, NOT face to flute.
   

6. 6.The flute may come down 10-30 degrees, just make sure head goes with it.
   

7. 7.Relax...
   

Position and Balance

1. 1.Strive for comfortable but proper hand position. Relaxed wrists and fingers.
   

2. 2.Fingers should curl naturally over the keys and the pads of the fingers should be able to depress the keys. Watch out for “the claw” or flat fingers. Don’t hit your flute! Be gentle!
   

3. 3.Grasp flute with left hand to do hand position work with the right hand. Let the right hand fall naturally to your side. Keep it relaxed and flop it onto the flute. Try to keep this feeling as much as possible.
   

4. 4.First point of balance: RH thumb. It should be placed somewhere under the RH index finger or F key.
   

5. 5.Place the left hand. Make sure the thumb is on the long flat key.
   

6. 6.Second point of balance: LH index finger 3rd joint. This spot should hit the body of the flute between the top key and the hole it closes (C key).
   

7. 7.Finally, bring the flute to your face.
   

8. 8.Third point of balance: the chin. Very light pressure against the chin will hep balance for notes without the left thumb key.
   

9. 9.Keys should face up toward the ceiling.
   

10. 10.Hidden fourth point of balance: RH pinky on the Eb key. This is pressed for most notes.
    

11. 11.Remember, there are some muscles that will be used that may have never been used before. Take little breaks to avoid fatigue.