Thank you for the detailed explanation! I have never heard such concise instruction regarding the Irish Flute. Wish I had found you 4 years ago, but happy to have the help now!
Thanks Leslie, that's a great video, your detailed explanation is very helpful for me (same with the one on the Low D). Looking forward to studying your book when it arrives...hopefully this week. Thanks again....all the way from wintery Melbourne!
Thanks for the great tips, Leslie! After two years of playing, I've too became aware of "a little tuck" on the right side of my lips. There many traditional players who have a similar asymmetric embouchure, who don't seem to find it a hindrance to their tone (e.g Harry Bradley has a very pronounced tuck). I, however, felt that the tuck was indicative of tension and, consequently, fatigue in the muscles on the right side of the mouth. The left side would remain smooth, just like you describe. My jaw would then also become tense and fatigued, resulting in a rather stiff, inflexible embouchure and poor tone. I continue working on trying to relax my jaw and learning to focus the airstream with the muscles in the middle of the lips, not relying solely on the corners of the lips, and trying to proactively keep the tucked area more relaxed, while playing in front of the mirror. There has been improvement, but I'm still noticing that tension in the jaw / lips is growing throughout the set, and I'm likely to have more "tuck" by the end of the last tune (esp. in a session environment, when anxiety kicks in). I've also noticed that it's hard to get the embouchure back into a relaxed state after playing in the second octave. This means that with every octave change throughout the set my tone is gradually deteriorating, as I fail to restore a relaxed embouchure, necessary for the rich and resonant lower octave. Each consequent jump makes my embouchure more and more stiff, affecting intonation and the tone. You cover the topics of tone production and technique in great detail, and I was wondering if you have any advice on keeping the embouchure relaxed, but focused, and improving it's flexibility? As well as general tips on how to release tension in the lips and jaw. Sorry if the message is a bit all over the place, I hope it makes sense. Please let me know if you have already addressed the topic in any capacity (e.g in the book, which I'm looking forward to read too). And thanks a million producing content like that from the Irish flute perspective, it is much needed!
Hi Arthur! Thanks for your message. Very nice to meet another “tuck”! Yes, tucks/asymmetrical embouchures are everywhere, but as long as they don’t cause tension or direct the air flow in unwanted ways, they’re certainly not the end of the world. (Mine usually doesn’t seem to be tension-related, which is why I mostly let it be.) I can certainly discuss embouchure flexibility, relaxation, and focus. They are very good questions. Regarding playing with less tension, especially in sessions and as you’re switching octaves, there can often be a few things bubbling under the surface that are contributing to tension. In addition to developing a flexible embouchure, good posture and breathing practices are critical when it comes to eliminating body and embouchure tension. (There are multiple chapters on both in my book.)
Thanks for the great advice, Leslie, and pointing to the corresponding chapters in your book! Getting the posture right is definitely something I've been avoiding long enough now ;) I hope I can find a way to get the physical copy of the book over the sea now!
@@darkbummer Happy to help! You should be able to order a physical copy directly from Mel Bay and have it shipped to you, but let me know if that doesn’t work. :)
Hi. I really like your way of explaining. I bought the flute. I will buy the first volume of your book. Thank you.
Thank you for the detailed explanation! I have never heard such concise instruction regarding the Irish Flute. Wish I had found you 4 years ago, but happy to have the help now!
I'm glad you find it helpful!
Thanks Leslie, that's a great video, your detailed explanation is very helpful for me (same with the one on the Low D). Looking forward to studying your book when it arrives...hopefully this week. Thanks again....all the way from wintery Melbourne!
So glad you find it helpful and I hope you enjoy the book! Best wishes to you in Melbourne!
Thanks for the great tips, Leslie!
After two years of playing, I've too became aware of "a little tuck" on the right side of my lips.
There many traditional players who have a similar asymmetric embouchure, who don't seem to find it a hindrance to their tone (e.g Harry Bradley has a very pronounced tuck). I, however, felt that the tuck was indicative of tension and, consequently, fatigue in the muscles on the right side of the mouth. The left side would remain smooth, just like you describe. My jaw would then also become tense and fatigued, resulting in a rather stiff, inflexible embouchure and poor tone.
I continue working on trying to relax my jaw and learning to focus the airstream with the muscles in the middle of the lips, not relying solely on the corners of the lips, and trying to proactively keep the tucked area more relaxed, while playing in front of the mirror.
There has been improvement, but I'm still noticing that tension in the jaw / lips is growing throughout the set, and I'm likely to have more "tuck" by the end of the last tune (esp. in a session environment, when anxiety kicks in).
I've also noticed that it's hard to get the embouchure back into a relaxed state after playing in the second octave. This means that with every octave change throughout the set my tone is gradually deteriorating, as I fail to restore a relaxed embouchure, necessary for the rich and resonant lower octave. Each consequent jump makes my embouchure more and more stiff, affecting intonation and the tone.
You cover the topics of tone production and technique in great detail, and I was wondering if you have any advice on keeping the embouchure relaxed, but focused, and improving it's flexibility? As well as general tips on how to release tension in the lips and jaw.
Sorry if the message is a bit all over the place, I hope it makes sense. Please let me know if you have already addressed the topic in any capacity (e.g in the book, which I'm looking forward to read too).
And thanks a million producing content like that from the Irish flute perspective, it is much needed!
Hi Arthur! Thanks for your message. Very nice to meet another “tuck”! Yes, tucks/asymmetrical embouchures are everywhere, but as long as they don’t cause tension or direct the air flow in unwanted ways, they’re certainly not the end of the world. (Mine usually doesn’t seem to be tension-related, which is why I mostly let it be.)
I can certainly discuss embouchure flexibility, relaxation, and focus. They are very good questions. Regarding playing with less tension, especially in sessions and as you’re switching octaves, there can often be a few things bubbling under the surface that are contributing to tension. In addition to developing a flexible embouchure, good posture and breathing practices are critical when it comes to eliminating body and embouchure tension. (There are multiple chapters on both in my book.)
Thanks for the great advice, Leslie, and pointing to the corresponding chapters in your book!
Getting the posture right is definitely something I've been avoiding long enough now ;)
I hope I can find a way to get the physical copy of the book over the sea now!
@@darkbummer Happy to help! You should be able to order a physical copy directly from Mel Bay and have it shipped to you, but let me know if that doesn’t work. :)
@@darkbummer Just recorded a video on some of these issues! ua-cam.com/video/TP-WV8gVseI/v-deo.html